UPPER AND LOWER CASE. THE INTERNATIONAL JOURNAL OF TYPOGRAPHICS .......y PUBLISHED ERNATIONAL TYPEFACE CORP, VOL.9, NO.1, MARCH 1982

I Whose idea was it that man should fly? When did we get the notion that walking, running, jumping and climbing were not quite enough.. . that we should defy nature and take off and soar with the birds? Our 8-page color section on man's romance with flight, designed by guest art director, B. Martin Pedersen, starts on page 36. ©From AUDUBON'S BIRDS OF AMERICA by Roger Tory Peterson and Virginia Marie Peterson, Abbeville Press, Inc. 981

all printers were determined

not to print anything till

they were sure it offended

nobody, there would be

very little printed:' BENJAMIN FRANKLIN

t is astonishing

how many books I find there is

no need to read at all."

GEORGE BERNARD SHAW

•

Reprinted from "Remarkable Words With Astonishing Origins" by John Train.

Copyright ©1980 by John Train. By permission of Clarkson N. Potter, Inc.

2

Wee VOLUME NINE. NUMBER ONE. MARCH, 1982

EDITOR: EDWARD GOTTSCHALL ART DIRECTOR: BOB FARBER EDITORIAL'DESIGN CONSULTANTS: LOUIS DORFSMAN, ALAN PECKOLICK EDITORIAL DIRECTORS: AARON BURNS, EDWARD RONDTHALER ASSOCIATE EDITOR: MARION MULLER CONTRIBUTING EDITORS: ALLAN HALEY. LORNA SHANKS RESEARCH DIRECTOR: RHODA SPARBER LUBALIN BUSINESS MANAGER: JOHN PRENTKI ADVERTISING/PRODUCTION MANAGER: HELENA WALLSCHLAG ASSISTANT TO THE EDITOR: JULIET TRAVISON ART/PRODUCTION: ILENE MEHL, ANDREA COSTA. SID TIMM. JUREK WAJDOWICZ SUBSCRIPTIONS: ELOISE COLEMAN

C INTERNATIONAL TYPEFACE CORPORATION 1982 PUBLISHED FOUR TIMES A YEAR IN MARCH. JUNE. SEPTEMBER AND DECEMBER BY INTERNATIONAL TYPEFACE CORPORATION 2 HAMMARSKJOLD PLAZA. NEW YORK. N.Y. 10017 A JOINTLY OWNED SUBSIDIARY OF LUBALIN. BURNS & CO., INC. AND PHOTO-LETTERING. INC. CONTROLLED CIRCULATION POSTAGE PAID AT NEW YORK, N.Y. AND AT FARMINGDALE. N.Y. USTS PUBL 073430 ISSN 0362-6245 PUBLISHED IN U.S.A.

ITC FOUNDERS: AARON BURNS, PRESIDENT EDWARD RONDTHALER. CHAIRMAN EMERITUS HERB LUBALIN, EXECUTIVE VICE PRESIDENT 1970-1981

ITC OFFICERS 1982 GEORGE SOHN, CHAIRMAN AARON BURNS, PRESIDENT EDWARD GOTTSCHALL, VICE PRESIDENT, INFORMATION AND MARKETING SERVICES JOHN L. PETERSON. VICE PRESIDENT. SALES AND MARKETING JOHN PRENTKI, VICE PRESIDENT. FINANCE AND GENERAL MANAGER EDWARD BENGUIAT, VICE PRESIDENT BOB FARBER. SENIOR VICE PRESIDENT

U.S. SINGLE COPIES S1.S0 ELSEWHCRE. SINGLE COPIES 52.50 TO QUALIFY FOR FREE SUBSCRIPTION COMPLETE AND RETURN THE SUBSCRIPTION FORM IN THIS ISSUE TO ITC OR WRITE TO THE ITC EXECUTIVE OFFICE. 2 HAMMARSKJOLD PLAZA, NEW YORK. N.Y. 10017

In This Issue: Cover Announcing our 8 -page color section on FLIGHT.

Thoughts Four thought-provokers about books and the printed word. Pages 2 and 3.

Editorial In the matter of typesetting, the future has arrived; what it looks like, and how to greet it. Page 3.

When a Photographer "Represents" Artists

Photographer Marvin Schwartz shoots 25 contemporary American artists with unusual results. Page 4.

Netsuke Once the safety-pin of Japanese dress; today it's an art object and collector's item. Page 10.

Ms. Linda Novick She started in her grandmother's kitchen and wound up in Tiffany's window, with other notable appearances in between... and to come. Page 14.

The Letter and the Spirit of the Lore A graphic artist combines his esthetics with a touch of ascetics for a personal art form. Page 16.

Mythological Mayhem Its the classic game of hide-and-seek; and you'll find every-one from Achilles to Zeus. Page 18.

Fantastic Fabrications What water lilies were to Monet, what apples were to Cezanne, what guitars were to the Cubists—architecture is to graphic artist Michael Insetta. Page 20.

Cluck, Cluck Four tempting chicken recipes—from light to medium to bold to heavy-on-the-palate—with instructions and asides by Mo Lebowitz. Page 24.

Vision '80s Update New developments in word processors, voice processors and other new wrinkles in getting words down on paper. Page 28.

What's New From ITC ITC Cushing- has some things old...some things new...some things borrowed—it's a wonderful wedding of Lining Cushing Oldstyle No. 2 and Italic, impeccably adapted for photo-graphic and digital typesetters by Vincent Pacella. Page 30.

Flight It's about birds... about planes... about super-art director Marty Pedersen, who has designed this 8-page color section on flying—from the first visions to the last word in aircraft. Page 36.

This issue of U&lc was mailed to 170,300 readers: 140,300 in the United States and Canada, and 30,000 abroad. It will be read by approximately 500,000 people.

TABLE OF CONTENTS AND EDITORIAL SET IN ITC CUSHING.

MASTHEAD SET IN ITC NEWTEXT . (REDUCED).

THOUGHTS

book is a mirror: if an

ass peers into it, you can't expect an apostle to peer out."

GEORG CHRISTOPH LICHTENBERG

There are no bad books

any more than there are ugly

women."

f9;i411 ", , ,t

EDITORIAL

The digital era.

Phototypesetting, as a commercial force, would seem to be in its infancy. It has been flourishing for only ten or fifteen years at most. Compared to metal typesetting's five-plus centuries—that's just a warm-up period.

That accelerating rate of change. One of the theses of Alvin Toffler's writings (Future Shock, The Third Wave) is that, in addition to a multitude of basic changes in every aspect of our lives, we must contend with innovations coming on the heels of innovations and obsoleting the preceding ones before we've fully adjusted to them. What's happening in typesetting is consistent with Toffler's viewpoint.

Whither phototypesetters? There's a large, installed base of phototypesetters at various market levels. Many are successfully producing good typography and will continue to do so for years to come. But the bloom is off the rose. Starting at the top—in the high-volume large-budget operations, digital typesetting is taking over. It will be just a matter of years, not decades, when lower cost digital typesetters will permeate all market levels. Already, excellent machines are available to commercial typographic services. Others are bringing digital speeds and capabilities to a wider, lower priced market. The next step will see•odels reaching down to the office market level.

What does this mean to typefaces and typography? More speed. More productivity. A wide range in output quality which depends on several things, but especially on the output resolution. Larger fonts making possible a return of small caps, oldstyle figures, swash initials and special characters for math, foreign languages, scientific/medical work, etc., as well as logos incorporated into fonts.

What about typeface designs? In the digital era we will observe more typeface designs that are created especially to accommodate each typesetter's digital screen output limitations. How come? The fine resolution machines are capable of handling more delicate strokes and serifs, and the time is ripe for a taste swing to typefaces with more grace and individuality than most sans serifs offer.

At the same time there will be a proliferation of medium and coarse resolution printers capable of outputting type in a range of sizes and styles. While these machines will not be restricted to sans serifs, simpler designs and those with monotone medium weights and open counters will output most advantageously on them.

The digital era is upon us now, much as the phototypesetting era was, just ten years ago. For those who haven't already done so, it might not be a bad idea to start adjusting their minds to it now.

ILLUSTRATIONS BY WALLY NEIBART

THIS PAGE WAS SET IN ITC CUSH NG'

4

Spend just one half-hour with pho-tographer Marvin Schwartz and you'll come away convinced there's no sub-ject he hasn't, wouldn't, or couldn't handle. Violence in the streets...a revolution in the hinterlands... junkies shooting up...a flamboyant sunset... a fly ruminating on the wall. From hard news to poetic essays, he's done it all; for newspapers, wire services, magazines and industrial clients. But of all the assignments he's tackled, portraits are his favor-ite thing. + So it was a tremendous coup, professionally and personally, to land a commission from the Whitney Museum of American Art to photograph 25 contemporary artists in its permanent collection.The por-traits, from A for Richard Anuszkie-wicz to Z for Larry Zox, were to be used as section dividers in a tele-phone-address book to be sold in the museum's book shop. + Schwartz was well aware that the 25 artists selected were people to contend with.These were no pussycats, but assertive, strong-minded folks who had done their bit to shake up the art world and change the look of American painting and sculpture.

How would they take "direction" from a photographer? How did they feel about photography in general, this Johnny-come-lately to the inner sanctum of fine art? + Schwartz approached each artist with enthusi-asm smothered in caution. lie had no preconceived notions of how to

set up his shots. He knew for sure they would not be the standard head-neck-and-shoulders, or the artist-at-his-easel number. tie had an intuition that he should not direct his subjects, but respond to them. He took his cues from their comforts and discomforts.Those who were

reticent and suspicious, he photo-graphed in a matter of minutes.Those who joined in the project with gusto, were trudged around New York City for days, hunting down just the right locale. 4, Because the purpose of the project was, after all, a telephone book, the telephone itself became a pertinent and amusing prop in a number of the portraits. But when the phone was irrelevant Schwartz dropped the gimmick and found other props and environments that were appropriate for each character. In the end, the portraits turned out to be — not just a catalog of faces —but descriptive representations of each of the artists involved. + In all, Schwartz spent 3 months on the projectand wound up with close to a thousand shots. Along with them, he accumulated a thousand-and-one stories about the experience, which would make a fascinating book in its own right. Unfortunately, the Whitney Museum telephone-address book is out of print, but the com-plete set of 25 original portraits can be seen from May 13 through June 12,1982 at Neikrug Photographica, 224 East 68th Street, New York City.

M.M.

WHEN A PHOTOGRAPHER

"REPRESENTS"

MUM GABO. He was reticent, suspicious and gently scornful of photography. Schwartz had to take his shots quickly and at a respectful distance from the artist.

IARRY RIVERS. A figure from one of his"historic" paintings invades this portrait. Larry Rivers has lampooned legendary military heroes, the Dutch Masters on the cigar box and the camel on the cigarette package.

LOUISE PIEVELSOPI. She is as imposing,formidable and original as her work.The phone booth she stands beside was executed in the same form as her famous Black Walls.

5

6

MAN D'ARCAPIGELO. America-on-wheels was a theme this Pop painter explored in a series devoted to highway PACHOIAS KRUSHENICIL Jagged lines, virile color, explosive patterns make his work volatile and startling—as markings and traffic signs. Schwartz photographed him, appropriately, on a white road line. does his mailbox on a quiet country road.

DAVID VOPI SCHILGEIL. The huge, powerful forms of this artists sculpture prompted Schwartz to represent him DAN MM. His imposing all-American looks prompted this statesmanlike pose with notebook in hand; the in a mammoth, granite-like close-up portrait notebook page contains a plan for one of his fluorescent light installations.

7

MALCOLM BAILEE tiffs work is not his only passion.As deft with a cue stick as with his paint brush, he was happy TOM WESSEDIANN. A painter of voluptuous nudes and overblown body forms, his work belies his quiet, solitary to be photographed at a pool table. demeanor. Schwartz caught him aloft and aloof, peering out his studio window.

RICHARD LINDNER. The quiet lonely mood of this nighttime phone call is in direct contrast to the brash, CLAES OLDENBURG. Camera-shy but curious, this famous converter of hard objects into soft sculpture, gave his provocative women and decadent city scenes he paints. Soft Thiephone center stage, while he hesitantly stood half-in, half-out of the picture.

S

TONI UNGERER. He is an illustrator,caricaturistand merciless satirizer of our consumer society.He is also intensely RICHARD ANUSZKIEWICZ. This cool painter of meticulous color stripes turned out to be a warm family man.

serious and almost never without his sketchbook. Schwartz photographed him at home with his child.

ROBERT INDIANA. He collaborated generously in search of a good location, and finally wound up on top of the 3-dimensional version of his Love design.

CHRIST°. his hand resting near a little Wrapped Telephone, neatly symbolized this artists major works— his Wrapped Coastline, Wrapped Church, Valley Curtain and similar ventures.

9

GEORGE SEGAL He preserves intimate scenes of ordinary people in plaster.Schwartz photographed him relaxing JACK YOUNGERIIIAPI. A painter and printmaker who works in large abstract forms; his "presence" prompted with one of his just-plain-folks. one of the few close-up portraits in the project.

RAYJOIWISOPI. This artist"writes" his paintings, setting down his esthetic concepts in newsletter form. Schwartz

IARRYZOX. Like much contemporary art, his work looks untouched by human hands. It amused Schwartz to represented him by a sample work and a portrait of a favorite poet, Rimbaud. photograph him being photographed in a mechanical photo-vending machine.

THIS ARTICLE WAS SET IN ITC BENGUIATO CONDENSED AND ITC FRANKLIN GOTHIC"

10

L Lt

11

Sooner or later you were bound to confront the word netsuke. A whole crop of new books are appearing on the subject, and you are even likely to come face-to-face with a collector. Having recently been enlightened ourselves as to what it is, and how to pro-nounce it (net-skay) we felt moved to share some of our information and enthusiasm with you.

A netsuke was once an in-tegral part of Japanese dress when the kimono was their everyday outfit. The kimono,

having no pockets, created an obvious problem for the wearer. There was no place to carry essentials like money, keys, water gourds, tobacco pouches and the like. The solution was to hang all such paraphernalia from strings looped around the obi, or sash. The netsuke was a decorative little carved ornament used at the ends of the strings, which served as a button or toggle fastening to hold the valuables in place.

If the Japanese were more hard-nosed, economy-minded people, they might simply have tied a good square knot in their strings and let it go at that. But since we know the Japanese predilection for grace, decorative embellishment and ceremony even in their most commonplace activities, it is no surprise that the produc-tion of this buttonlike object became a major activity for craftsmen in Japan.

Aside from their devotion to esthetics ; there were some pertinent cultural and his-torical developments that contributed to the prolifera-tion of decorative netsuke in

Japan throughout the centuries.

From the mid-14th to 16th centuries, netsuke were sim-ply functional items, used by commoners, and made of na-tural forms and found objects. A root of wisteria, a shell, a small gourd, a bone, a stone, or even an uncarved piece of wood might serve as a toggle.

12

In the late 16th century, it became fashionable for the samurai and aristocratic citizens to carry little com-partmented cases with their medicines and personal seals needed for business and legal transactions. It was then that netsuke first became an object of decoration and artistic expression.

Aiding and abetting this appetite for decorative netsuke, was a corps of native carvers. Earlier in the century, they had been busy churning out statues

of Buddha. (A state edict re-quired every household to ac-quire and display an image of Buddha to contravene inroads being made by Christianity at the time.) But once the demand for Buddhas was filled, the carvers happily turned their attention and skills to creating netsukes in a variety of forms and images.

Finally, in the 18th century, the most important catalyst to the netsuke industry was the introduction of pipe-smoking, with its ubiquitous tobacco pouch hanging from the obi.

The subjects of netsuke carvings were limitless: folk-lore, legendary, mythological and religious figures, animals, family crests, masks, musical instruments and mystic sym-bols were just a few of the themes. The materials, how-ever, were confined to hard, durable substances that were also carvable: wood, bone, horn and ivory, essentially.

In spite of the booming business in netsuke during the first half of the 19th cen-tury, the second half brought a dramatic decline. Two phe-nomena accounted for the change: one, the introduc-

tion of western-style clothes with pockets; two, the sub-stitution of cigarettes for pipe-smoking. It was goodbye to kimonos, obis, tobacco pouches and netsukes as functional items.

It may seem strange to hear that even though netsukes became obsolete as an item of Japanese dress, netsuke carvers continued to turn them out. For good reason: when collectors started to grab them up as endangered art objects, it reawakened the

13

industry. But now there's a dif-ference. Carvers are no longer anonymous pairs of hands. As collectors are wont to do, they focus on nuances of individual designers. The artists are respected and the carvings are regarded as an art form to be studied, classified and revered.

The subject matter of con-temporary netsuke runs the gamut, as in all contemporary art, from the representational and figurative to the free form and abstract. For the most part, the artists still work in ivory, horn, and sometimes wood, with occasional use of mother-of-pearl, gold and gem inlays.

What has not changed is the nature of the craft. lbday, as in the past, it is a monastic-like activity. The artist works from sun-up to sundown, alone in a studio, totally absorbed in the tiny object nestled in the palm of his hand, which he painstakingly and lovingly nurtures into existence.

There's a vivid, detailed ac-count of the whole netsuke

LA-LtvrAitt

phenomenon, with beautiful photographs and biographical sketches of outstanding con-temporary carvers, in a book, Contemporary Netsuke, by Miriam Kinsey, published by Charles E. Tuttle Co., Inc., Rut-land, Vermont and rIbliyo, Japan. For a look at the real thing, there are outstanding collec-tions at the San Jose Museum in California (the collection of Mr Tom Vail), the M. H. De Young Memorial Museum in

Golden Gate Park, San Fran-cisco (the Aubry Brundage Collection of Oriental Art) and at King Fook, international dealers in Oriental art objects, with outlets throughout the world. The netsuke shown here were photographed at the King Fook gallery in New York City.

MARION MULLER

THIS ARTICLE WAS SET IN ITC FENICE.AND ITC PIONEER"

14

15

Her first "public" creation was an angel doll which was photographed and noted on the Women's Page of The New York Times. The response to that publicity settled her career once-and-for-all. She received calls from designers and high fashion stores—all anxious to put her to work She created stuffed props for a Geoffrey Beene fashion show in New York and Milan, for windows at Henri Bendel, Bloomingdale's and Tiffany in New York City. Her stuffed props have been photo-graphed for a poster and program guide for an FM radio station, and were used during an on-air fund-raising campaign by New York's public television channel. Private collectors have commissioned stuffed sculpture pieces, and a number of.boutiques and specialty shops have been selling her pillows, bags and dolls, as well. Currently, she is fulfilling a commission to design toys for a major toy company.

But to tell the truth, her grand ambition is to create a personnel agency for stuffed models, with a tempting assoi tinent of characters for hire—cooks, telephone opera-tors, nursemaids, policemen, glamorous women, dashing gigolos, etc. , etc. As she sees it, the advan-tages are irresistible: her models never get sick, never get tired, never complain, are never tempera-mental, and never charge overtime

Ms. Novick used the word "struggle" to describe the progress of her career. But since she has come so far in just the last three years, we can only surmise that she has traveled 100 mph on her sewing machine The pursuit of happiness, Linda

Novick will tell you, can lead you down a verycrooked path. She zigged first in the direction of Dance. Then she zagged into Fine Arts. And finally did a complete about- "

face, starting all over again in a career that began in her grand-mother's kitchen—sewing dolls and doll clothes from scraps of left-over fabric. When she rediscovered that joy, the road ahead was straight and clear.

MS LINDA NOVICK

THIS ARTICLE WAS SET IN ITC TIFFANY

16

The Letter and the Spirit of the Lore

His father was a rabbi. His great-grandfather was a rabbi, author and publisher. And so Michel Schwartz was raised in New York City in a thoroughly Jewish environment devoted to religious and scholarly pursuits. He learned his Aleph Bet simultaneously with his ABCs. By the time he was seven, the voluptuous, undulating curves of Hebrew calligraphy were as familiar to him as Palmer Method script and roman letter forms of the English alphabet. * At age 13, when he showed artistic leanings, his parents agreed to enroll him in the New York School of Art and Design, if he agreed to continue his religious studies at parochial school; which he did. * His eventual design skill and linguistic prowess gave Schwartz a specialty not too many graphic artists could .

match. He became a specialist in Jewish advertising art, designing

Shabat Shalom. "And the children of Israel shall guard the sanctity of the Seventh Day as a day of rest, forever."

L'chayim. "'lb Life!" (Chai)...The Jewish toast of toasts! No Hebrew word has a happiec more meaningful ring.

packages, posters, ads and inserts for specifically Jewish products, notably Barton's and Barricini candies. * But beyond the pres-sures of earning a living by his art, Michel Schwartz has been deeply and intrinsically fascinated by the forms of Hebrew callig-raphy. He has studied the evolution of Hebrew characters and re-invented them in a contemporary mood. Since his esthetics, his religious and personal life are so inextricably intertwined, it is no surprise to see the form his artistic expression takes. He creates paintings and serigraphs that combine original calligraphic designs with meaningful excerpts from the Ibrah,Mishna and Talmud and quotations from poets, scholars and philosophers. His calligraphy is truly the letter and the spirit of Jewish lore.

Ayn Hashemesh. "The eye of the sun is life... and life is love." (S. Tcherniliovsky, Poet, 1875-1943) elt

sa twow,11111. 1.111041. vow 0. ,INA oele S Am AN AR all

11,10.11 4 ../P 'ON WS

President's Prayer. A "Calli-Grafic" of the prayer upon which President Reagan s ore his oath of office.

THIS ARTICLE WAS SET IN ITC CENTURY. CONDENSED

18

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ANSWER ON PAGE: 76 S IX IONARCISSUSEMREHSS U UOHTOLCJEEOUJUSETEUS E MLVESTARFLHIEUREDHRP H NRAGIBENLLACMZRATAEH THORDMCPOOICDYPHNCRBI E BOINEKPTRHAASSIHSIRN MNOPETASIACWISCPE ZJEX O EADSRIDRNACUATPSOHCE RMSETATHTRHPYEHORIONN P EUMOBSLDOIHKOELRSRAO MSDERPEYRDAINLRYNAPIS TIETANHEEDNEBUATLASTA ASMECADONISUTSEAHPEHJ N HERACLESOPAARDNASSAC TOADEL ZJMNHETGSUHCCAB ANDIMUAEIYONNYWUSELHN L ROISVDSGSSORERGELBEY U MEAEEIEAUSOTULPIHERM S UDSASINNSAETIDORHPAP MI ZSBAOEARODNAPOPEARH MSUSAGEPOLYPHEMUSENIO

19

ACHILLES ADONIS AEOLUS APHRODITE APOLLO ARES ARTEM IS ATLAS BACCHUS CADMUS CALLIOPE CASSANDRA CASTOR CERBERUS CERES DEMETER D IONYSUS EC HO EROS FLORA HADES HEPHAESTUS HERA HERAC LES HERMES HESTIA HIPPOLYTA HYAC INTHUS HYDRA HYGE IA ICARUS ISIS IRIS IXION JASON LEDA MEDEA MEDUSA MIDAS NARCISSUS NEMESIS NESTOR NIKE

How to play: Mythology inspires this issue's puzzle. Find and encircle the names appearing on the right. They appear vertically, horizon-tally, diagonally and even backwards. Don't cross letters out—they may be needed for another name!

While these proper nouns may be spelled differently in different languages, please follow our English versions.

We've shaded an example to start you off.

Le theme est mythologique. Entourez d'un cercle, les noms dont la liste figure ci-contre, a droite. Its sont dis-poses verticalement, horizon-talement, diagonalement et meme inversement. Ne bar-rez aucune lettre—vous pour-riez en avoir besoin pour un autre nom!

Bien entendu, de toutes les orthographes possibles, c'est l'anglaise qu'il faut retenir.

Nous avons simule un ex-emple pour vous mettre sur la voie.

Spielanweisung: Die Mytho-logic gab die Anregung zu diesem Puzzle. Sie miissen die zur Rechten aufgefiihrten Namen finden and umkrei-sen. Diese konnen waage-recht, senkrecht, diagonal oder sogar rackwarts vorkom-men. Streichen Sie keine 13uchstaben aus, da diese fir andere Namen gebraucht werden konnten.

Wenngleich die Namen in den verschiedenen Sprachen unterschiedlich geschrieben werden, benutzen Sie bitte die englische Schreibweise.

Das schattierte Beispiel zeigt Ihnen, wie Sie anfan-gen miissen.

NIOBE NYMPH OEDIPUS ORION ORPHEUS PAN PANDORA PEGASUS PENELOPE PERSEPHONE PLUTO PSYCHE POLYPHEMUS POSEIDON PROMETHEUS SATYR SPHINX TANTALUS TERPSICHORE THOR TRITON VESTA VULCAN ZEUS

A WORD SEARCH BY JULIET TRAVISON

ILLUSTRATIONS BY LIONEL KALISH

THIS ARTICLE WAS SET IN ITC GALLIARD'

20

Fantastic Fabrications

M ichael Insetta has grand designs for

super structures that no one can build, let alone live in. And that's ex-actly his intention. He is beguiled by walls, rooftops, doorways, windows, window-walls, lintels, posts, columns, railings, I-beams, ramps and chim-neys. He thrusts stairways up to nowhere, piggybacks building-on-building and cantilevers them precariously into space. He loves to manipulate architectural forms—not as integral parts of some ambitious construction project—but as abstract elements in his incredibly intricate drawings.

here his inspiration came from, he's not

exactly sure. Montclair State College in New Jersey, where he studied art, is not an American Bauhaus, but while a student at Montclair, he somehow was turned onto architec-ture as an art form.

'though he is com- pletely absorbed in

architecture, and is currently em-ployed in an architect's office, he is emphatic about his career goals. He is a graphic designer. He has no ambition to be an architect. Neither should his drawings be construed as a parody of architecture. He's simply enamored of architectural elements which he likes to use as vehicles for arrangements of lines, colors and forms.

I nsetta is associated with two art galleries,

Pleiades in New York City, and Discovery Galleries in Clifton, New Jersey. Recent exhibitions in both places drew favorable comment and promising possibilities for the future. Meanwhile he cherishes the very con-crete approval he received from the highly respected designer, Ivan Chermayeff, who purchased three of his large drawings. With encourage-ment like that, he can keep right on planning his uninhabitable habitats.

M.M.

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THIS ARTICLE WAS SET IN ITC BARCELONA'

24 Chicken: book, medium, bold and heavy. With this typographic

family approach to chicken-types

of dishes from book

to heavy in taste range, we

present these recipes by our resident food-type,

Mo Lebowitz, who believes that good food (like goo typography) is always worth clucking

ut

Chicken Boob Poached with Vegetables. properly poached chicken is a forgot-

ten work of art. It's not boiled, and it's-not stewed. This is a young and tender bird cooked gently in barely simmer-ing broth that also serves as the soup

course. And served beside the bird are blanched vegetables that are warmed in the soup. Any vegetables will do, so I've chosen my favorites to use here.

Best of all, Chicken Book is easy to make. And you know what they say about chicken soup: It wouldn't hoit!"

Technique: 1.Clean the chicken by flushing

it with cold water inside and out. Truss the bird to make it easy to handle. My friend, Julia Child, has a great method: Put the bird on , its back. Bend the wings back over themselves so they stay in place without tying. Cut a 3-foot piece of kitchen cord and tie it at the center point around the bird's tail. Take each half of the cord over the end of the opposite leg and bring the pieces backtogether. Tie them to-gether securing the backend of the bird.Now turn the bird on its breast side. Run each cord around and along the back to the wings. Pass over and back under the wings, bringing the ends together in the middle of the bird's back, Pull the strings tight and tie a knot.It's easy to carve a bird trussed like this.

2.Put the bird in a pot just large enough to hold the bird. Add cold water to cover and put the pot on a high flame.When the water boils, turn off the flame and let the bird sit for about 10 minutes.Then take the chicken out and flush it again with fresh water.

3.Clean the pot and put the bird back in it. Add about two cups of broth (fresh if possible: canned, powdered or cubed broths are sal-tier and stronger-flavored, so you'll

need less). Chop up the carrot,onion and celery. Wrap the herb bouquet in a washed piece of cheesecloth and tie it with a cord.Add the vege-tables and herb bouquet to the chicken pot along with enough water to just cover the bird. Bring the pot to a boil and quickly cut back the flame so that the liquid just barely moves and steams. Put on the cover and let things go quietly for a half-hour.

4.While the chicken is poaching, do the vegetables: A) Clean the carrots and halve them lengthwise, then cut cross-wise into 1" pieces.Put them aside. B) Wash the stringbeans, cut off their ends, and slice them into 1" lengths. Put them aside. G) Gut the leektops (greens) off and make a 1" slit down from the top of each leekWiggle in there and wash out all the sand they probably have collected. Cut the leeks into ?cylinders and put aside. D) Put a steamer basket in a pot large enough to hold all the vege-tables and add about a half inch of water. Bring it to a soft boil and add the carrots. Cover the pot. After 4 minutes, add the stringbeans and

continue steaming for 4 minutes. Add the leeks and steam every-thing for 7 minutes more.Then remove the vegetables and plunge the basket into ice cold water. The vegetables must be cooled quickly to retain their texture and color. Put them aside.

5.After the half-hour of cooking, test the chicken for doneness. Pierce the bird to the bone at the thigh with a toothpick.When it's done,the juices will run clear white. If that's the case, remove the bird to a serving platter and put it into the oven to keep warm—not cook further. Strain the remaining broth thru a fine sieve lined with washed cheesecloth.Return the clear broth to the pot and bring it to a high boil and let it reduce for 10 to 15 minutes. Reduce the heat to me-dium and add the blanched vege-tables. After three minutes, remove them to the chicken platter in the oven. Add the noodles to the broth and boil them for about five min-utes.They'll turn the broth into a soup by thickening it a little.

6. Serve the soup first,then bring out the warm chicken platter. Carve the bird into serving pieces (the juices will have had time to recede into the meat) and baste the vege-tables with any juices that are re-leased by the carving (or use a little of the left over broth), and serve. Put out some Dijon mustard with the platter.A little bread wouldn't hurt, either.

Drinka nice bottle of Bordeaux, Beaujolais or Cotes du RhOne from France, or a light,simple California Zinfandel or mountain red. If you must have a white, try a Macon- Villages from France or a Dry Chenin Blanc or Chardonnay from California. A white or red Rioja from Spain is nice, too.

Ingredients (for 4 people): 1 31/2 lb. frying chicken 2 cups of chicken broth

Water as needed 1 onion 1 carrot 1 stalkof celery 1 herb bouquet of 2 cloves garlic,

a Tsp. of thyme and tarragon,a 1/4 Tsp. of rosemary and 6 sprigs of parsley

1 lb. of medium-sized carrots 3 medium-sized leeks 1 lb. of stringbeans 8 oz. of fine egg noodles

I used to think of a roasted chicken as only a lot of white and dark meat put onto a frame, covered with skin, wrapped around some herbs or a stuffing and roasted until it was done. In reply to this you may ask: "What's so different? You've only described a roasted chicken in technical terms."

Right. But then I came upon this alternate: A flattened frame topped with white and dark meat, covered with stuffing and herbs kept in place by a skin while it cooks. Different?

You bet it is! The flattened chicken roasts faster and more evenly ; is easy to carve ; and really tastes great, hot or cold. Carved, on a platter with simple vegetables and a salad, a glass of wine or two, this dish is anything but fiat.

25

Chicken Medium: Flat-Roasted, Zucchini-Stuffed.

Ingredients (for 4 people): 21 Tb of olive oil 1 3 1/2 lb. frying chicken 1 medium onion 2 medium zucchini

1/2 Tb thyme 1/2 Tb rosemary 1/2 Tb oregano 2 cloves of diced garlic 1 roasted, diced red pepper 1 fist of parsley (wide-leaf)

21 Tb of bread crumbs 8 small red potatoes 1 bunch of broccoli

Technique: 1.Preheat the oven to 350

degrees F 2. Place the chicken breast-

side-down on a cutting board. With a very sharp boning knife or kitchen shears, remove the back-bone from the bird. Just cut down both sides and it comes out for you to use later in making broth. Reach down into the chest cavity and make a small cut into the breastbone. Force each side of the rib cage outward. Having done that, you'll find yourself looking at the inside of a flattened chicken. Turn the bird over and thump it a few times with your fist to smooth it out. Insert your index finger under the skin at the top of either breast and loosen the skin down the center all the way down past the thigh to the top of the drumstick. Repeat on the other half of the bird. Now you have a flattened chicken with loose skin. Rub two Tb of the olive oil on both sides of the bird and put it aside.

3. Chop the onion into a fine dice. Put the other two Tb of olive oil into a 10" skillet and add the onion over a medium flame. Cover and cook slowly, stirring every minute or so.

4. Dice the zucchini into 1/4" cubes by making lengthwise 1/4-inch slices, then crosscutting them with 1/4-inch slices again. Add the zucchini dice to the pan with the onion and stir, uncovered this time. Add the thyme, rose-mary, oregano and garlic to the pan. Stir again.The roasted red pepper can be from ajar of any good brand. Chop it and add to the pan. Chop the fist of parsley, throw it in with the bread crumbs and stir again until everything looks like a stuffing. The crumbs will absorb any juices and the stuffing should hold its shape on a spoon.

5. Lay out the chicken skin-side-up, and insert the stuffing in the pockets between the skin and meat. Use a tablespoon and work the stuffing back as far as you can into the thigh and drumstick. Use your fingers like a squeegee from

the top, but get that stuffing all around the bird. Put the bird skin-side-up on a flat baking rack in an ovenproof dish and put it into the center of the oven for an hour or so depending on the doneness you require.

6. While the chicken roasts,you can prepare the vegetables for a last-minute steam about 25 min-utes before the chicken is ready to serve. Wash the potatoes and put them in a steamer basket in a pot that will also have room for the broccoli later. Add 1/2" of water, cover and bring to a soft boil for 20 minutes.

7.Wash the broccoli, trim off the thick bases and leave about two inches of stem. Peel the skin off the stems and put aside.

8. After the potatoes have steamed for 20 minutes, add the broccoli and let it steam for 21 min-utes more.Take the vegetables out of the steamer and place them, and the chicken, on a warm plat-ter in a well-designed arrange-ment (after all, we are graphics people). Slice the bird down the middle and at the wing, thigh and leg joints. It's ready!

Chicken Medium needs a big Zinfandel or Pinot Noir from Cali-fornia; a Saint-Emilion, Pomerol, or Chdteauneuf du Pape, maybe even a Grand Cru Beaujolais from Moulin-à-Vent or Morgon of France, to make a perfect blend of food and drink.

Chicken Medium will get under your skin—just like it did the chicken's!

Chicken Bold: Cassoulet of Beans Sausage.

irhis is my own version of the classic French cassoulet. It's much lighter but loses nothing in the translation. Chicken Bold came about when some married friends came for dinner on a cold night and I was forewarned that the wife was having dental problems. She couldn't chew!

She loved this meal for the soft, velvety beans, the chicken meat fall-ing of the bones, and the wonderful blend of flavors as a result of the slow simmering together of all the ingredients. I loved it for the ease in its preparation.

I recommend Chicken Bold Cassoulet even if you have strong teeth!

26

Technique: 1.Heat the oven to 2100 degrees

F. (You may want to pour an extra glass of the dry white wine for yourself now, so you won't go any drier than the cassoulet!)

2. Cut the chicken into 12 small serving pieces as shown in the Chicken Heavy recipe, step 2.

3. Heat two tablespoons of the olive oil in a 12" skillet and quick-brown the chicken pieces on all sides over a medium-high heat. When the chicken gets nicely browned (not burned!), put it all into a 211/2 quart ovenproof cas-serole or pot.

21. Cut the Polish sausage into 1" pieces and brown them lightly in the same skillet. Put them into the pot with the chicken. Pour off the fat from the skillet, but don't wash it.

5. Clean the leeks by cutting off the green tops (I save them for use in soups or stews, or just stuffing them in a chicken and roasting it), slicing the bases lengthwise and washing every-thing under a lot of running water. Spread the layers and look for sand nestling in between them. Then cut the strips into squares. Put these squares into the skillet and slowly cook them for about ten minutes. They should be limp, transparent and barely browned. Pop them into the pot with the chicken and sausage.

6. Pour the white wine and Calvados into the skillet and let it boil up and reduce down. Scrape off all the browned goodies stuck to the bottom and sides. There's where all the flavor is. When the liquid reduces by half, pour it over the chicken, etc., in the pot.

7.Gut each tomato across be-tween the stem and the base and squeeze each half to force out the seeds. Chop each half very coarse and plop them into the pot.

8. Put the drained and washed canned beans into the cassoulet (at this point the plain pot be-comes a fancy "cassoulet"), and sprinkle the thyme, rosemary and garlic over everything. Then, with a light touch, mix everything together with a slotted wooden spoon so that each part of the cas-soulet gets a little of all the ingre-dients. Pour in enough broth to just come to the top of the beans and sprinkle the breadcrumbs over the whole top surface. Dribble on the remaining two tablespoons of olive oil across the crumbs.

9. Put the cassoulet on the bur-ner of your stove and let it come to a slow boil over a medium heat. Then put it into the oven. After about 20 minutes, the crumbs will form a nice, brownish crust across the top and the liquid will bubble in peeps all around the outer edge.Turn down the oven to 350 degrees Rand let the action continue for another hour. It's ready. After that, you can let it coast for about a half hour (when company is late). Just turn off the oven and leave the cassoulet in it, checking to make sure there's about an inch or two of liquid at the bottom of the pot.

Make a nice green salad, some simple steamed carrots, and have a loaf of crusty bread around when you serve this cassoulet. Drink a big Zinfandel or a medium Cabernet Sauvignon from Cali-fornia, or a Comas or Gigondas from France's Rhone Valley.

Ingredients (for 6 people): 24 Tb of olive oil 131/2 lb. frying chicken 1 Polish sausage 2 medium leeks 3 medium tomatoes 2 Tb of Calvados or Cognac 1 small glass of dry white wine 3 1-lb. cans of small white beans 1 Tsp of thyme 1 Tsp of rosemary 24 cloves of garlic 5 cups of chicken broth

Ingredients (for 4 people): 3 Tb of olive oil 131/2 lb. frying chicken 3 Tb of whole black pepper-

corns 1 lemon

1/2 Tsp of thyme 2 cloves of garlic, chopped 2 Tb of corn oil 1 Tb of Cognac

For the rice: 3 Tb of butter 2 Tb of chopped onion 1 cup of raw long-grained rice

11/2 cups of water 1 bay leaf 2 Tb of finely chopped

parsley

For the tomatoes: 2 large, ripe tomatoes

1 Tsp basil 24 Tb of breadcrumbs 24 pats of butter

Thchnique: 1.Preheat the oven to 350

degrees F. 2. Cut the chicken into 12

pieces as shown in the diagram below. Discard the backbone and wing tips for potential use in a broth. Remove the meat from the drumstick—it tastes like white meat when sautéed off of the bone. Remove all the skin you can and discard it. Now put the chicken into a ceramic or stainless steel bowl and put aside for a minute.

• Chicken Heavy: Sautéed Peppered

1r ou may have heard of, or tried, Steak au poivre — a French recipe for steak sautéed in crushed black peppercorns. Well, here's chicken done the same way, and as they say, "Man, it's heavy!" Chicken Heavy has character. It'll get you all fired up—literally. It's not for the faint of heart or tremulous

of taste, but once you find your own level you'll want more. Aside from the heat generated on your palate from the pepper, there's a sweet, nutty taste that comes through. Cooking the pepper seems to soften it and give it more complexity.

Chicken Heavy can either be sautéed or grilled, so it's perfect all year long, indoors or out. And I haven't seen anyone botch it up yet.

Side this chicken with simple rice and a broiled tomato. After the meal, you'll think of the joke about the fellow who, while he was hit-ting his head with a hammer, was asked why he was doing it. He answered: "Because it feels so good when I stop!" Bon Appetit.

3. Put the peppercorns in a plastic "baggier' Place the bag on a hard formica or metal surface and gently crack the peppercorns with a hammer, wooden mallet, or the side of a large knife blade or cleaver. Crack them down to quarters or finer. Then pour the cracked pepper over the chicken pieces in the bowl.

4. In a small bowl, mix the olive oil, thyme, the juice of a lemon and the garlic together. Pour it over the chicken pieces, stir everything together, cover with foil and refrigerate it all for an hour.

5. Just before you start sautee-ing the chicken, wash the toma-toes and cut out the stem ends. Halve them across the stems and lay them out on an oven-proof dish cut side up.Sprinkle

some basil and breadcrumbs over each half and top them with a pat of butter. Bake them for a half hour in the oven. They should be ready when you fin-ish the chicken, and have a nice crusty top.

6. Pour the corn oil into a 12" skillet over a medium heat and add the drained chicken pieces to brown all over. This will take about 10 minutes. Lower the heat a little and con-tinue sauteeing, turning the pieces every 5 minutes or so. After 15 minutes, pour in the Cognac and let it heat up. Then flame it. Put the chicken pieces on a warm platter and pour the pan juices over them. Simple!

7.While the chicken and to-matoes are cooking, melt two Tb of butter in a small saucepan and put in the chopped onion. Stir it over a low fire until it wilts and gets transparent. Add the rice and stir it around a little. Put in the water and bay leaf (some salt and pepper if you like), and bring everything to the boil. Cover the pot and lower the heat to a simmer.After 18 minutes, add the chopped parsley and stir it in. Remove the bay leaf, and serve the rice on the warm platter with the chicken and tomatoes. Remem-ber, neat arrangement counts!

Drink a simple jug wine from California, or just the opposite: a big, rich, very young Zinfandel or Petite Sirah. A Cote-Rotie or a Beaqjolais Cru Morgon or Julienas from France is good, too. Delo from Portugal works well also. Even beer!

Simple but eloquent. A meal that speaks to you now—and maybe later on!

THIS ARTICLE WAS SET IN ITC BARCELONA.

28

Voice-processing: This seemingly exotic technology is ex-pected to be commercially significant in office automation systems by the late '80s. A report by Frost & Sullivan, Inc. sees voice data entry (speech as input to computers) and voice response (com-puter speech as output to people) first taking hold in assembly line manufac-turing, financial transactions, order entry and education during the next three-four years. High prices, a limited vocabulary, slowness and the need for a system to "learn" the operator's voice are holding back more rapid develop-ment. By mid-decade these problems should be overcome, and by 1990 a use-ful $300 device is predicted by Frost & Sullivan. Some of the technological leaders such as IBM, Xerox, and Exxon are expected to move into this field. IBM already has, in its laboratories, a voice-activated typewriter. The cost of speech input/output technology is drop-ping. Systems that cost thousands of dollars are being superseded by inte-grated circuits on $10- $20 chips with 100-word vocabularies. For larger vocabularies, a synthesized set of chips can be used.

GDTs: Also becoming increasingly important to graphic designers and artists are graphic display terminals; They are already widely used for business graph-ics—charts, tabular material, graphs—and for scientific, engineering, manu-facturing and architectural work. They will soon be more widely used for creat-ing graphic designs and illustrations. Consider just one recent announcement: CrOMCBCO, Inc. (Mountainview, CA) has a new high resolution (754 x 482) sys-tem. Its Slidemaster package creates graphics and text displays. It is inter-active. The operator can input via a digitizing tablet or an electronic pen and needs no knowledge of computer programming languages. Thxt or graph-ics can be erased or edited after it has been entered. Elements can be moved, enlarged, manipulated many ways. The operator can achieve pen or brush effects, can pan or zoom, generate circles, lines, other shapes. Input can

be stored, displayed, moved on the out-put devices. The Fontmaster package allows the operator to interactively design original typefaces including, Arabic or Chinese characters. This Cromenco system is just one of many on the market and is reported here merely as an example of the rapidly developing capabilities of GDTs in general.lb keep up with this field, one should read such publications as Com-Touter Business News, Computerworld, Computer Systems News, Datamation, Byte, Creative Computing or the Har-vard Newsletter on Computer Graphics. If you wonder whether the proliferation of GDTs has improved output quality, consider this from Andrew Pollack in the New York Times: "Thday, computer-generated music and art no longer seem computerish.Rather than sound-ing like blips and squeaks, computer-generated music can sound orchestral. Computer graphics, no longer restricted to linear patterns controlled by mathe-matical equations, can be fluid and textured."The exciting potential of com-puters in music and•an lies not in its ability to speed creation of conven-tional art or music, but to create new sounds and new sights.

High-speed liDEM II: The new Kurzweil reader converts printed matter to digital form at up to 75 cps,25 times faster than it could be done by a person.

Storage/Retrieval news: Bubble memories may be the tech-nological wave of the '80s (large capac-ity, no memory loss) but their costs are still too high. Intel is the only American company still commercially significant in this field. Several Japanese and European manufacturers are active in bubble production.

The 16-bit trend: You'll be reading/hearing about 16-bit microprocessors. They're here. What this means to you is faster, more sophis-ticated processing. The kind of power formerly reserved to large and costly computers (minis and mainframes) is now becoming available to the micro-

processors in the terminals that small offices and studios use.

Disc storage: While some of us are still getting used to filing pictures and manuscripts on a magnetic disc instead of in a paper file folder, one hears that video/optical discs may replace COM (Computer Output Microfiche) and magnetic disc storage for some uses by the end of the decade. By then, costs per unit of storage will be competitive, optical discs will be rewritable. They will best serve those needing fast access to very large files.

Good news—computers are learning English: More terminals are being developed for those who can't, or won't, talk to them in Basic, Cobol, Fortran, Pascal, etc. Some can be addressed by simply point-ing to symbols or words on the CRT. Others respond to voice commands. Still others respond to questions or orders typed in English. The day is coming closer when artists, writes, ex-ecutives, will be comfortable with com-puter terminals.

Editing: Now you can edit, and mix, up to 32 lan-guages via the keyboard on the ML-32. The CML-32 provides color graphics capability. Computer Systems Con-sultants, Inc., 225 Main Street, Chelms-ford, MA 01863. Personal computers are being interfaced to typesetters and composition terminals. Example: the Editerm 90 that links a TRS-80 to a Mergenthaler Linoscreen 7000 or to the Linotron 202. Marcus Computer Services Inc., 155 Second Avenue, New York, NY 10003.

Pagination: AM Varityper's new Image Previewer option enables Comp/ Edit to display the job you are setting with all typographic elements in actual size and position. This facilitates corrections at the front end, speeds and perfects output... Itek's Pagitek 5 text processor is a fast, sophisticated pagination terminal. It can handle a variety of input or out-

put options and can drive, via an inter-face, most phototypesetters. Now Itek's Quadritek phototypesetter can be linked to a Xenotron XVC2-20E area composition system. Editing can be done at either station before a job is set. The typesetter outputs a fully com-posed page. Xenotron terminals are being interfaced to many devices, includ-ing the Lasercomp for which it offers rule-form software, and to Digital Equip-ment Corporation's TMS-11 Front End System. Now there's an interactively paginated 100 pica newspaper com-position system that can handle half-tones. The system includes Hastech's PagePre Monotype's Lasercomp, and an Autokon scanner which converts photographs into electronic impulses which the PagePro reads and displays. Hastech's GraphPro converts tone or line art to signals that can be typeset, and includes a viewing and editing station for text and graphics, and a page composition capability. Hastech, 670 North Commercial Street, Man-chester, NH 03103.

Information International, Inc. has introduced NPS (Newspaper Pagina-tion System) to electronically produce complete newspaper pages ready for platemaking—with all text and graph-ics in position.

Interfaces: There's a proliferation of new interfaces, especially of those linking word proc-essors to direct input typesetters. For a good review of these, see the Seybold Report, Vol, 10, No.15.

Compugraphic's PCI (Programmable Communications Interface) allows data stored on computers or word processors to be directly output on the 8600 digital typesetter instead of on a line printer.

Mergenthaler's WPI 2000 can take word processor-produced copy from remote sites and convert it for typesetting on an OmnitechlYpesetting parameters can be entered at the Omnitech.

The rfransmedia 500w can convert media from almost any word process-ing system, for output on almost any data processor,word processor or photo-typesetter. ADC,14272 Chambers Road, Thstin, CA 92680.

'typewriters: A paperless, silent typewriter? Sony's Type Recorder is that and more. It is portable (8 1/2"x 11"x 1 1/2"), uses batteries or house current, reads out on a liquid crystal display, records digitally on a microcassette that can store up to 120

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AM's Image Previewer An option for the Comp/Edit phototypesetter, the Image Previewer, enables the operator to instantly see how a composed page will look. While keyboarding, the display screen shows the copy conventionally, as in the left of the illustration. lb preview the job, just enter a command and the full screen displays the copy in actual size and position.

standard pages of typing. It can correct and edit text and can also serve as a dictation/transcription device and can tape-record meetings... Prices of elec-tronic typewriters are coming down... low cost word processing systems can be created using Pilara 1000 to link an electronic typewriter to a cassette recorder. 3-11 Unlimited, Inc., San Diego, CA ... new in the electronic typewriter market is Xerox Corporation with four "Memorywriter"models.

Word-processing: The trend is toward more user pro-grammable devices; not only word processors with a larger library of soft-ware programs (math capability, for example) but with compilers. Compilers enable the user to develop custom programs, such as sorting and selection packages for list management...And watch for more terminals with graphics creation/display/editing capabilities... also coming on strong, spelling and error-checking programs. Recent entry

is Magic Spell. It starts with a basic dictionary of over 10,000 words. When-ever you enter a word it doesn't recog-nize it asks whether you want it to add the new word.Of course, the more words you add, the slower the response. Star Kits, P0. Box 209, Mt. Kisco, NY 10549... 30,000 frequently occurring words can be checked for errors when the Micro-mark I Spelling and Proofing System (Telcon Industries) is hooked into a data or word processing terminal or computer system. It instantly detects misspelled words due to OCR, trans-mission, or typesetter errors. The Compucorp International Unabridged Dictionary is a powerful spelling veri-fier. It can be multi-lingual, handle spe-cial languages (medicine, law, etc.) can take new words, holds up to 1 million words... For a roundup of spelling verifi-cation programs, see the Seybold Word Processing Report,Vol. 4, No. 8... Daisy wheel printer quality is being upgraded by two major suppliers, Diablo and Qume. Improvements result in fewer

parts, less servicing, better print quality, lower noise levels.The improved Diablo model is the 630. Qume's new model is the Sprint 7... Non-impact printers will soon be offering genuine type libraries to the office. But many output at resolutions much coarser than accept-able in the graphic arts.Why? The chief reason many highspeed laser printers today stick to a 300 line or less resolu-tion is speed. A finer resolution would greatly add to the number of bits to be handled, and while reproduction quality and fineness of detail would improve, speed of output would drop, and, for the market these printers are serving, speed of output is an overriding consideration.

Technologies now in R&D stages are expected to produce supercomputers capable of speeds 100 times faster than we have now. When this is accom-plished the user should have the best of both worlds—high speed output and fine resolution for the best reproduc-tion of text and graphics.

...There are many kinds of non-impact printers: laser, ink jet, electromagnetic, for example. Now there's an ion deposi-tion imaging technique. It's fast and is expected to compete with laser xero- graphic printers. Delphax Systems, Nississauga, Ontario, Canada. It uses half the moving parts of a laser/xero-graphic device and presently outputs a 240 x 240 dot pattern ... For a study of the future of executive workstations, contact International Resource Develop-ment Inc., 30 High Street, Norwalk, CN 06851.

Typesetting: Entry level, upgradable computerized typesetting system is Penta Pal. It is modular, uses standard Penta software, can grow into a full Penta Pro system, can add Penta Page, and provides for telecommunications. Penta Systems International, 20 South Charles Street, Baltimore, MD 21201... Mergenthaler's Linotron 202 is now offering a digital graphics system: line or tone art is Autokon scanned and connected to digi-tal electronic information the 202 can merge with text. Halftones can be screened at 70-, 85-, or 115-line reso-lution... Monotype's Lasercomp no longer requires a font master for every size. Hardware sizing of fonts from a single master to sizes from 5-96 points is now possible... Now the Comp Edit can run faster. The 5900 can set type at 150 lines per minute and takes input from multiple off-line sources... and Itek's QuadritekTM' now offers soft-ware allowing it to function as a user-programmable business/personal computer. The software is called Quad Basic ...and the Quadritek 1400/1600 system is a phototypesetter, word proc-essor, business/ personal computer, all in one. Modular components facilitate adding workstations. Itek's term for this new concept is MAPS (Multiple Application Phototypesetting Sys-tems)... Meanwhile Compugraphic has brought out a low cost phototypesetter, the 8212, that substantially lowers the price of its new MCS (Modular Composition System). MCS can also be configured with an 8400 or 8600 digital typesetter.

THIS ARTICLE WAS SET IN ITC FENICE.AND ITC AVANT GARDE GOTHIC" CONDENSED

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31

WHAT'S NEW FROM ITC ITC Cushing Book, Medium, Bold and Heavy weights with correspond-ing italics are new typefaces from ITC. There are also small caps for the Book and Medium roman faces. Only licensed ITC Subscribers are authorized to reproduce, manufac-ture, and offer for sale these and other ITC typefaces shown in this

issue. This license mark is your guarantee of authenticity:

WED

These new typefaces will be avail-able to the public on or after April 15, 1982, depending on each manufac-turer's release schedule.

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32

ITC CUSHING Cushing is a typeface with many roots, but, despite its honorable ancestry, it remained until now, a small and con-fused family. It was designed in 1897 by J. Stearns Cushing for American Type Founders Company and was called Cushing No. 2. An italic was developed for ATF by F.W. Goudy in 1904. These early ATF typefaces

became known as Lining Cushing Oldstyle No. 2 and Italic. ATF also brought out a Lining Cushing No. 2 and Italic, Cushing Antique, and Lining Cushing Monotone 553. The

VINCENT PACELLA/DESIGNER

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ITC Cushing- Book Italic ITC Cushing- Medium Italic

33

ATF faces (they can hardly be consid-ered a family in today's sense of the word) were variously Egyptians or a blend of Egyptian and Oldstyle charac-teristics. A Ludlow version featured narrow capitals and an oblique cross-bar on the lowercase "t:' A Monotype version in one weight of roman and italic had small, inclined serifs, wide

capitals, short ascenders and descen-ders. In 1901, Lanston Monotype in-troduced Cushing Oldstyle, a slightly condensed typeface with large brack-eted serifs and fairly uniform weight. It has little relationship to the ATF and Monotype Cushing.

Today's version, ITC Cushing, derived from Lining Cushing Oldstyle

No. 2 and Italic. Issued under license from American Type Founders Company, it was drawn by Vincent Pacella, and features, in addition to the large x-height in popular use today, and the neat letterfit accommodated by photographic and digital typesetters, the long, bracketed serifs of the ATF version. The capitals were changed to

better match the weight of the lower-case letters. There are also small caps for the Book and Medium roman faces. In the italics, the sloping serifs of the original were changed to linear type serifs. For improved letterfit and ease of readability, there is a new point at which ascenders of lowercase letters join the capital letters.

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34

ITC CUSHING'

BOOK Excellence in typography is the result of nothing more than an att itude. Its appeal comes from the understanding used in its planni ng; the designer must care. In contemporary advertising the pert ect integration of design elements often demands unorthodox typ ography. It may require the use of compact spacing, minus leadin g, unusual sizes and weights ;whatever is needed to improve appe arance and impact. Stating specific principles or guides on the su bject of typography is difficult because the principle applying too 6 POINT

Excellence in typography is the result of nothing more th an an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemp orary advertising the perfect integration of design elem ents often demands unorthodox typography. It may requ ire the use of compact spacing, minus leading, unusual s izes and weights; whatever is needed to improve appear ance and impact. Stating specific principles or guides on 7 POINT

Excellence in typography is the result of nothing m ore than an attitude. Its appeal comes from the und erstanding used in its planning; the designer must care. In contemporary advertising the perfect integ ration of design elements often demands unorthod ox typography. It may require the use of compact sp acing, minus leading, unusual sizes and weights ; w hatever is needed to improve appearance and impa 8 POINT

Excellence in typography is the result of noth ing more than an attitude. Its appeal comes fr om the understanding used in its planning; t he designer must care. In contemporary adve rtising the perfect integration of design elem ents often demands unorthodox typography. It may require the use of compact spacing, min us leading, unusual sizes and weights; whate 9 POINT

Excellence in typography is the result of n othing more than an attitude. Its appeal c omes from the understanding used in its p lanning; the designer must care. In conte mporary advertising the perfect integrati on of design elements often demands uno rthodox typography. It may require the us e of compact spacing, minus leading, unu 10 POINT

Excellence in typography is the result of nothing more than an attitude. Its a ppeal comes from the understanding used in its planning; the designer mu st care. In contemporary advertising t he perfect integration of design eleme nts often demands unorthodox typogr aphy. It may require the use of compac 11 POINT

Excellence in typography is the res ult of nothing more than an attitud e. Its appeal comes from the unders tanding used in its planning; the de signer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. It may req 12 POINT

Excellence in typography is th e result of nothing more than an attitude. Its appeal comes fro m the understanding used in i ts planning; the designer mus t care. In contemporary advert ising the perfect integration o f design elements often dema

MEDIUM Excellence in typography is the result of nothing more than an att itude. Its appeal comes from the understanding used in its planni ng; the designer most care. In contemporary advertising the pert ect integration of design elements often demands unorthodox typ ography. It may require the use of compact spacing, minus leadin g, unusual sizes and weights; whatever is needed to improve appe arance and impact. Stating specific principles or guides on the su bject of typography is difficult because the principle applying to

Excellence in typography is the result of nothing more t han an attitude. Its appeal comes from the understandin g used in its planning; the designer must care. In contem porary advertising the perfect integration of design ele ments often demands unorthodox typography. It may re quire the use of compact spacing, minus leading, unusua 1 sizes and weights; whatever is needed to improve appe arance and impact. Stating specific principles or guides

Excellence in typography is the result of nothing m ore than an attitude. Its appeal comes from the und erstanding used in its planning; the designer must care. In contemporary advertising the perfect inte gration of design elements often demands unortho dox typography. It may require the use of compact spacing, minus leading, unusual sizes and weights; whatever is needed to improve appearance and im

Excellence in typography is the result of noth ing more than an attitude. Its appeal comes fr om the understanding used in its planning; th e designer must care. In contemporary adver tising the perfect integration of design eleme nts often demands unorthodox typography. I t may require the use of compact spacing, min us leading, unusual sizes and weights; whate

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In cont emporary advertising the perfect integra ton of design elements often demands un orthodox typography. It may require the u se of compact spacing, minus leading, unu

Excellence in typography is the result of nothing more than an attitude. Its a ppeal comes from the understanding used in its planning; the designer mus t care. In contemporary advertising th e perfect integration of design elemen ts often demands unorthodox typogra phy. It may require the use of compact

Excellence in typography is the res ult of nothing more than an attitud e. Its appeal comes from the unders tanding used in its planning; the de signer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. It may req

Excellence in typography is th e result of nothing more than an attitude. Its appeal comes fro m the understanding used in i ts planning; the designer mus t care. In contemporary adver tising the perfect integration of design elements often deman

BOLD Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its p tanning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unort hodox typography. It may require the use of compact spacing minus leading, unusual sizes and weights; whatever is needed to improve appearance and impact. Stating specific principles or guides on the subject of typography is difficult because the p

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understan ding used in its planning; the designer must care. In c ontemporary advertising the perfect integration of de sign elements often demands unorthodox typography It may require the use of compact spacing, minus lead ing, unusual sizes and weights; whatever is needed to improve appearance and impact. Stating specific prin

Excellence in typography is the result of nothin g more than an attitude. Its appeal comes from the understanding used in its planning; the des igner must care. In contemporary advertising t he perfect integration of design elements often demands unorthodox typography. It may requi re the use of compact spacing, minus leading, u nusual sizes and weights; whatever is needed t

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In conte mporary advertising the perfect integration of design elements often demands unor thodox typography. It may require the use of compact spacing, minus leading, unusu

Excellence in typography is the result of nothing more than an attitude. Its a ppeal comes from the understanding u sed in its planning; the designer must care. In contemporary advertising th e perfect integration of design elemen ts often demands unorthodox typogra phy. It may require the use of compact

Excellence in typography is the res ult of nothing more than an attitude Its appeal comes from the understa nding used in its planning; the desi gner must care. In contemporary a dvertising the perfect integration o f design elements often demands u northodox typography. It may requ

Excellence in typography is the result of nothing more than an at titude. Its appeal comes from th e understanding used in its plan ning; the designer must care. In contemporary advertising the p erfect integration of design ele ments often demands unorthod

Excellence in typography is the result of nothing more th an an attitude. Its appeal co mes from the understanding used in its planning; the des igner must care. In contemp orary advertising the perfec t integration of design elem

HEAVY Excellence in typography is the result of nothing more than a n attitude. Its appeal comes from the understanding used in i ts planning; the designer most care. In contemporary advert ising the perfect integration of design elements often deman ds un orthodox typography. It may require the use of compact spacing, minus leading, unusual sizes and weights; whateve r is needed to improve appearance and impact. Stating specif is principles or guides on the subject of typography is difficul

Excellence in typography is the result of nothing mo re than an attitude. Its appeal comes from the under standing used in its planning; the designer must car e. In contemporary advertising the perfect integrati on of design elements often demands unorthodox ty pography. It may require the use of compact spacing minus leading, unusual sizes and weights; whatever is needed to improve appearance and impact. Statin

Excellence in typography is the result of nothi ng more than an attitude. Its appeal comes fro m the understanding used in its planning; the designer must care. In contemporary advertis ing the perfect integration of design elements often demands unorthodox typography. It ma y require the use of compact spacing, minus le ading, unusual sizes and weights; whatever is

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In con temporary advertising the perfect integr ation of design elements often demands unorthodox typography. It may require t he use of compact spacing, minus leadin

Excellence in typography is the resul t of nothing more than an attitude. It s appeal comes from the understandi ng used in its planning; the designer must care. In contemporary advertis ing the perfect integration of design elements often demands unorthodox typography. It may require the use of

Excellence in typography is the re suit of nothing more than an attitu de. Its appeal comes from the unde rstanding used in its planning; the designer must care. In contempor ary advertising the perfect integr ation of design elements often de mands unorthodox typography. It

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its pl arming; the designer must care In contemporary advertising th e perfect integration of design elements often demands unort

Excellence in typography i s the result of nothing more than an attitude. Its appeal comes from the understand ing used in its planning; the designer must care. In cont emporary advertising the p erfect integration of design

14 POINT

35

BOOK ITALIC Excellence in typography is the result of nothing more than an attitud e. Its appeal comes from the understanding used in its planning; the d eSigner must care. In contemporary advertising the perfect integratio n of design elements often demands unorthodox typography. It may re quire the use of compact spacing, minus leading, unusual sizes and w eights; whatever is needed to improve appearance and impact. Statin g specific principles or guides on the subject of typography is difficult because the principle applying to one job may not fit the next. No two

6 POINT

Excellence in typography is the result of nothing more than

an attitude. Its appeal comes from the understanding used i n its planning; the designer must care. In contemporary adv ertising the perfect integration of design elements often dem

ands unorthodox typography. It may require the use of comp act spacing, minus leading, unusual sizes and weights; wha tever is needed to improve appearance and impact. Stating s

pecific principles or guides on the subject of typography is di 7 POINT

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understan ding used in its planning; the designer must care. In co ntemporary advertising the perfect integration of desig n elements often demands unorthodox typography. It may require the use of compact spacing, minus leading unusual sizes and weights; whatever is needed to impr ove appearance and impact. Stating specific principle 8 POINT

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the pelf ect integration ofdesign elements often demands unorthodox typography. It may require the use o f compact spacing, minus leading, unusual sizes and weights; whatever is needed to improve app 9 POINT

Excellence in typography is the result of noth ing more than an attitude. Its appeal comes f rom the understanding used in its planning; the designer must care. In contemporary adv ertising the perfect integration of design ele ments often demands unorthodox typograph y. It may require the use of compact spacing, minus leading, unusual sizes and weights; w 10 POINT

Excellence in typography is the result of nothing more than an attitude. Its appea I comes from the understanding used in i ts planning; the designer must care. In c on temporary advertising the perfect inte gration of design elements often demand s unorthodox typography. It may require the use of compact spacing, minus leadi 11 POINT

Excellence in typography is the result of nothing more than an attitude. Its a ppeal comes from the understanding used in its planning; the designer mus t care. In contemporary advertising th e perfect integration of design elemen ts often demands unorthodox typogra phy. It may require the use of compact 12 POINT

Excellence in typography is the result of nothing more than an a ttitude. Its appeal comes from th e understanding used in its plan ping; the designer must care. In contemporary advertising the p erfect integration of design elem ents often demands unorthodox

MEDIUM ITALIC Excellence in typography is the result of nothing more than an attitu de. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integral ion of design elements often demands unorthodox typography. It ma y require the use of compact spacing, minus leading, unusual sizes an d weights; whatever is needed to improve appearance and impact. St sting specific principles or guides on the subject of typography is cliff icult because the principle applying to one job may not fit the next. No

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary ad vertising the perfect integration of design elements often de

moods unorthodox typography. It may require the use of co

mpact spacing, minus leading, unusual sizes and weights; whatever is needed to improve appearance and impact. Stat ing specific principles or guides on the subject oftypograph

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understan ding used in its planning; the designer must care. In co ntemporary advertising the perfect integration of desi gn elements often demands unorthodox typography. I t may require the use of compact spacing, minus lea ding, unusual sizes and weights; whatever is needed t o improve appearance and impact. Statingspeciftcpri

Excellence in typography is the result of nothin g more than an attitude. Its appeal comes from t he understanding used in its planning; the desi gner must care. In contemporary advertising th e perfect integration of design elements often d emands unorthodox typography. It may require the use of compact spacing, minus leading, unu Sual sizes and weights; whatever is needed to im

Excellence in typography is the result of not hing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary ad vertising the perfect integration of design ele ments often demands unorthodox typograp hy. It may require the use of compact spacin g, minus leading, unusual sizes and weights;

Excellence in typography is the result of nothing more than an attitude. Its appe al comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect in tegration of design elements often dema nds unorthodox typography. It may req uire the use of compact spacing, minus I

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understandin g used in its planning; the designer m ust care. In contemporary advertisin g the perfect integration of design ele ments often demands unorthodox typ ography. It may require the use of co

Excellence in typography is the result of nothing more than an a ttitude. Its appeal comes from t he understanding used in its pla nning ; the designer must care. I n contemporary advertising the perfect integration of design ele ments often demands unorthodo

BOLD ITALIC Excellence in typography is the result of nothing more than an attitud e. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integral ion of design elements often demands unorthodox typography. It ma y require the use of compactspacing, minus leading, unusual sizes an d weights; whatever is needed to improve appearance and impact. St ating specific principles or guides on the subject of typography is diff fruit because the principle applying to onejob may not fitthe next. No

Excellence in typography is the result of nothing more than

an attitude. Its appeal comes from the understanding used i nits planning; the designer must care. In contemporary ado ertising the perfect integration of design elements often dem

ands unorthodox typography. It may require the use of coin pact spacing, minus leading, unusual sizes and weights; wh atever is needed to improve appearance and impact. Stalin

g specific principles or guides on the subject of typography

Excellence in typography is the result of nothing mo re than an attitude. Its appeal comes from the under standing used in its planning; the designer must ca re. In contemporary advertising the perfect integrat ion of design elements often demands unorthodox t ypography. It may require the use of compact spacin g, minus leading, unusual sizes and weights; what ever is needed to improve appearance and impact. St

Excellence in typography is the result of nothi ng more than an attitude. Its appeal comes fro m the understanding used in its planning; the designer must care. In contemporary advertisi ng the perfect integration of design elements of ten demands unorthodox typography. It may r equire the use of compact spacing, minus leadi ng, unusual sizes and weights; whatever is nee

Excellence in typography is the result of n othing more than an attitude. Its appeal c omes from the understanding used in its p1 anning ; the designer must care. In contem porary advertising the perfect integration of design elements often demands unortho dox typography. It may require the use of compact spacing, minus leading, unusual

Excellence in typography is the result o f nothing more than an attitude. Its app eal comes from the understanding used in its planning; the designer must care In contemporary advertising the perfec t integration of design elements often d emands unorthodox typography. It ma y require the use of compactspacing, m

Excellence in typography is the res ult of nothing more than an attitude Its appeal comes from the understa nding used in its planning; the desi gner must care. In contemporary ad vertising the perfect integration of d esign elements often demands unort hodox typography. It may require t

Excellence in typography is the result of nothing more than an attitude. Its appeal comesfrom the understanding used in its p1 anning ; the designer must care In contemporary advertising th e perfect integration of design e lements often demands unorth

HEAVY ITALIC Excellence in typography is the result of nothing more than an alt itude. Its appeal comes from the understanding used in its planni ng; the designer must care. In contemporary advertising the perfe ct integration of design elements often demands unorthodox typo graphy. It may require the use of compact spacing, minus leading unusual sizes and weights; whatever is needed to improve appear once and impact. Stating specific principles or guides on the said ect of typography is difficult because the principle applying to on

Excellence in typography is the result of nothing more th an an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemp

orary advertising the perfect integration of design eleme nts often demands unorthodox typography. It may regui re the use of compact spacing, minus leading, unusual si zes and weights; whatever is needed to improve appeara nce and impact. Stating specific principles or guides on

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfe ct integration of design elements often demands unorthodox typography. It may require the use of compact spacing, minus leading, unusual sizes a nd weights; whatever is needed to improve appear

Excellence in typography is the result of not hing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary ad vertising the perfect integration of design el ements often demands unorthodox typogra phy. It may require the use of compact spaci ng, minus leading, unusual sizes and weigh

Excellence in typography is the result o f nothing more than an attitude. Its app eal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect in tegration of design elements often dema nds unorthodox typography. It may req uire the use of compact spacing, minus I

Excellence in typography is the resul t of nothing more than an attitude. It s appeal comes from the understandi ng used in its planning; the designer must care. In contemporary advertis ing the perfect integration of design e lements often demands unorthodox t ypography. It may require the use of

Excellence in typography is the re suit of nothing more than an attit ude. Its appeal comes from the un derstanding used in its planning; the designer must care. In contem porary advertising the perfect int egration of design elements often demands unorthodox typograph

Excellence in typography is t he result of nothing more tha n an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary a dvertising the perfect Integra don of design elements often

14 POINT

Whose idea was it that man should fly? When did we get the notion that walking, running, jumping and climbing were not quite enough ... that we should defy nature and take off and soar with the birds?

Though we can't pinpoint the moment of man's first visions of flight, our ancient legends, myths and history are replete with evi-dence of fantasies and powers associated with flying. In classical mythology, Icarus, Mercury, Cupid, Pegasus, gods and heroes were invested with wings. The Egyptians revered mythic birds like the Phoe-nix, and in their wall paintings, rep-resented man's soul in the form of a bird. Early Assyrian gods were also endowed with wings. The Arabian Nights were filled with flying car-pets and flying genii. And even our comparatively modern Judeo-Christian angels are winged crea-tures on a flight path between heaven and earth.

The dream of flying may be ex-plained as a primitive desire to escape the confines of the earth ...a lust for adventure, freedom or power... or, if we believe the Freudians, an expression of sexual release.

The actual act of flying is some-thing else. We do not all approach it with the same avidity Some of us are quite content to stay put on terra firma, except for an occa-sional flight to some other part of terra, equally firma. But among us are some daring souls who, though not pioneers of aviation, seek out the singular pleasure of pining themselves against the forces of nature. Such an adven-turer is our guest art director, B. Martin Pedersen.

Marty Pedersen performs with equal zeal behind the tiller of a

at (he sailed his 31-ft. sailboat from Montauk, N.Y., to Bermuda, using celestial navigation only) ... in the cockpit of a plane (he is a licensed pilot who flies for fun on free weekends)... and at his drawing board, where he maneu vers boats, planes, trucks and visual ideas in the most elegant fashion. It was no surprise to us, when invited to choose a theme for our color section, he unhesitantly said, "Flight!"

ABOUT B. MARTIN PEDERSEN

Before setting out on his own, Marty Pedersen was art director for a number of leading New York

advertising agencies and subse-quently became Corporate Design Director for American Airlines.

In 1968 he started his own design firm, and as you might expect, the combination of his design and en-gineering intelligence attracted a number of notable clients in aero-

nautics, engineering and nautical fields. Among them were American Airlines, Volkswagen, W. R. Grace & Co., Northwest Orient Airlines, Sports Club of America, Encyclo-pedia Brittanica, Combustion Engineering and a host of others, for whom he produced award-

winning, memorable graphics. In 1976 he merged with partners

to form Jonson Pedersen Hinrichs & Shakery, Inc., with offices in New York and San Francisco. That same year, he became a partner in the creation and development of a new publication, the Nautical Quarterly.

In less than 13 years since he first set up shop, Marty Pedersen has collected over 300 major de-sign awards from The Art Directors Club of New York, The American Institute of Graphic Arts, The Type Directors Club of New York, The Society of Publication Designers, CA magazine and numerous others.

He has lectured and taught at art schools and universities throughout the United States, including Pratt Institute, Stanford University, The School of Visual Arts, Sarah Lawrence College and The erican Institute of Graphic Arts. He has also served as chair-man and juror for major graphic shows and competitions in the United States and Europe, and is a member of the Board of Directors of the American Institute of Graphic Arts.

When he isn't doing all of the above, he finds time for flying, skiing, boating, running and mak-ing this guest appearance in U&lc. THIS PAGE WAS SET IN ITC FRANKLIN GOTHIC.

From HARTERS PICTURE ARCHIVE FOR COLLAGE AND ILLUSTRATION 1978 edited byJim Harter pub l(shed by Dover Publications, Inc.

37

The First Words

ertain names are 'guaranteed to come to mind when the sub-ject is aviation: the Wright broth-ers, of course,

covs",ie. _cl N5 .N44, it ril+w11.: liv r. , „ t;

0„. Ny. ■ ce e. A eo,„„cH\

in the air by pumping air out of four copper balls attached to its deck, un-aware that out-

•, side air pressure would col-

lapse the balls. At the same time, a Ptench

locksmith named Besnier attempted to fly by attaching paddle-like cloth wings to his shoulders.

In 1783, the Montgolfier brothers of Pl'ance built the first successful hot air balloon, with a basket attached to carry passengers, and sent it aloft

in Paris. Hundreds of success- ful balloon flights followed._

In the early 1800s, a British inventor, Sir George Cayley,

built model gliders and helicopters that contributed some ideas about flight. A William Henson, another

Englishman, in fact had patented his design for a flying machine run on steam power but he lacked funds to build it.

A Mr. Goupil designed an airplane in 1885 that relied

on pedaling power to give it "lift."And by the end of the 19th

century Otto Lilienthal, a glider expert, had already

made thousands of successful flights. This list only scratches the sur-

face of data accumulated about experiments and attempts at flight. But it was clear that man meant to fly. What he was not built to do, he would build to do for him.

Louis Bleriot of Rance, Count Ferdinand von Zeppelin of Ger-many, Charles Lindbergh, Amelia Earhart, Wiley Post, Admiral Byrd ...all historic figures who performed noteworthy feats in the air. But they are all 20th century names.

If we really wish to understand where the concepts came from that made it possible for man to get off the ground, we have to reach back at least 2,000 years. That's how far back the history of balloons, gliders, dirigi- bles, airplanes, jets, rockets and space 'E ships can be traced.

In 215 B.C., or thereabouts, Archi-medes discovered the principle of floating a heavy object in water, the same principle inherent in ballooning.

About 100 B.C. a mathematician in Alexandria, Hero,discovered the principle of jet propulsion. r.-.

It was about 1300 that the English scientist Roger

‘,

Bacon contributed the idea '\ that balloons filled with "liquid Bre"or hot air would float.

One hundred years later, in the late 1400s, Leonardo da Vinci drew precise plans for a flying ma-chine based on the anatomy of birds and the operation of their wings, translating the action into a mechan-ical system of wings or oars that could -be operated by pulleys. He also de-vised a plan for an aerial screw which led to the concept for the construc-tion of propellers and helicopters.

In 1679. an Italian priest, Pl'an- , N cesco de Lana,

produced a ,-- • plan for a fly- • ing boat that

was to be lifted

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Since it is well known that a number of people had actually flown in some form of aircraft long before Wilbur and

Orville Wright were born, why all the fuss about the Wright brothers. Their singular accom-plishment was that they built and successfully flew the first motor-driven plane in a sus-tained and controlled flight.

Wilbur and Orville Wright were two mechanical-minded young men who ran a bicycle repair shop in Dayton, Ohio. That was their livelihood. For sport, they built and flew gliders.When they read that the German glider ex-pert, Otto Lilienthal, was killed when he lost control of his plane (he balanced his machine by shifting his body weight around), the brothers thought there could be a more reliable system for managing a glider in flight. They experimented and devel-oped a way to keep the center of gravity of the plane constant. The equilibrium was maintained by controlling air pressure on different parts of the mac by adjusting the angles of the wings and auxiliary surfaces. They patented their system, which is essentially the same concept of aileron control in use today.

Although the brothers had taken up aeronautics as a sport, they became involved in the mechanical and scientific as-pects. In 1901, they set up a wind tunnel in their workshop and devised experiments to test"lift" and"drag" on different wing

THESE PAGES WERE SET IN ITC CENTURY., ITC BENGUIAT CONDENSED®. AND ITC FENICE.

forms. The scientific nature of their experiments and the data they collected set them apart from other experimenters who built their models by trial-and-error or based on untrustworthy formulations.

In time, they had enough facts and figures to convince them they could build a flying machine with an engine only one-half to one-quarter the power previously proposed for such a plane. They did it. Their

completed plane, including the pilot, weighed 750 pounds and was propelled by a 4-cylinder, 12 horsepower motor. The historic plane was tested at Kitty Hawk, North Carolina, on December 17, 1903. It made four sustained flights, the longest lasting 59 seconds, at a speed of 30 miles per hour.

In later experiments, the Wright brothers figured out how to control tailspin, and their flights grew increasingly more

impressive. On October 5, 1905, Wilbur Wright flew for an un-precedented 38 minutes over a small circular course, covering a distance of 24 miles.

That may not sound like much of an accomplishment in this age of trips to the moon and beyond. But the Wright brothers remain memorable heroes of aviation history, and we can hardly recall the engineers and astronauts who first launched us into space.

United Press In ernatiOnal

40

ENGINE This is the power plant of the plane. Prop planes move forward by propeller action and fuel combustion.Jet engines take in air, build up and then release enor-mous pressure, the exhaust of which propels the plane forward.Thrboprop engines use jet engine power to turn a propeller.

The undercarriage of a plane supports it on the ground and is essential for takeoff and landing. Land planes, depending on their size, may have 3 to 8 wheels or more. Instead of wheels, some planes are equipped with skis for landing on snow or pon-toons for landing on water.

WINGS The surfaces of the wings, interacting with air cur-rents, provide the lifting and floating potential of the aircraft. Shape and size and positioning determine lifting power, speed, load capability, comfort, stability and price of the aircraft.

COCKPIT This is the seat of the action—the brains, heart and nerve center of the plane—also the seat of the pilot, from which the phys-ical, electrical and naviga-tional controls of the plane are operated. ,

VERTICAL STABILIZER Ammilmommi The tail assembly of a plane looks like the tail feathers of an arrow, and serves the same function.lt helps to keep the plane on an even keel. The upright surface or fin, called the vertical stabilizer, keeps the wind from whipping the tail from side to side.

A maneuverable hinged panel in the vertical stabilizer which is con-trolled by pedals in the floor of the cockpit. It can be directioned to deflect air currents and help control the direction of the plane.

41

A

R

In layman's language this is the"body"of the plane. It carries the engine, cockpit, pilots, passengers, cargo, and provides the frame-work to which the wings and tail are attached.

PROPELLER imsoms■• Like a screw working its way into a block of wood, a rotating propeller cuts through the air and ad-vances the plane. Small planes have fixed angle propellers, but on powerful planes, the angle can be ad-justed for extra takeoff lift, for proper climbing power and for cruising speed.

These movable hinged panels engineered into the back end of the wing tips can be raised or lowered to control air pressure on the wings.They are engaged when banking the plane to the left or right in prepara-tion for a turn.

HORIZONTAL STABILIZER

ammems■wi The horizontal fin struc-tures at the rear end of the plane are also part of the tail assembly. They serve a purpose similar to the ver-tical fin. These horizontal surfaces keep the plane from bobbing up and down in the wind. These are the fins to which the elevators are attached.

ELEVATOR irromirsowi A hinged panel in the hori-zontal stabilizer of the tail section.When this elevator is raised it causes the tail of the plane to drop and the nose to rise.When it is lowered, the tail rises and the nose drops.The action is controlled by the pilot from the cockpit.

Drawings of Christen Eagle courtesy of Christen Industries, Hollister, CA

THESE PAGES WERE SET IN ITC FENICE., ITC AVANT GARDE. GOTHIC, AND ITC NOVARESE.

42

WHATEVER TH.0 THRILLS AND ADVENTURE OF SPACE TRAVEL... WHATEVER RAPTUROUS SIGHTS CAN BE VIEWED FROM THE ELECTRONICALLY EXQUISITE MARVELS CALLED SPACE SHIPS...THEY ARE NOTHING COMPARED TO THE EXHILARATION OF GOING ALOFT IN A GLIDER OR SMALL

PLANE, WITH JUST A FEW BIRDS AND CLOUDS FOR COMPANY. SO SAY THE DARING FOLKS WHO ENJOY SUCH SPORT. IT IS THE PARADOX OF OUR TIMES, THAT THE MORE ADVANCED OUR TECHNOLOGY BECOMES, THE MORE WE SEEK A CLOSER ENCOUNTER WITH THE ELEMENTS. +

Photo of the Sprite 1-35 courtesy of Schweizer Aircraft Corp., Elmira,NY THESE PAGES WERE SET IN ITC BARCELONA., AND ITC FENICE.

44

Photo of Long-Ez courtesy of Rutan Aircraft, Mojave, California

THE CANARD ■Nms....■■ One of the most advanced little fly-ing machines today pays tribute to where it all started—watching the birds. This sleek little number called a canard (French for duck, as every-one knows from reading restaurant menus) was designed by a young California engineer, Bert Rutan.The name canard derives from its re-semblance to a duck in flight, with wings thrust back toward the tail. But there the similarity ends. This super modern-looking flying ma-chine has an additional pair of small horizontal wings at the nose end. To the uninitiated, it looks as if the plane was assembled back-wards—tail end first. But aerody-namically, it is an ingenious design. This canard arrangement (the name applies specifically to the small

front wings as well as the plane as a whole) provides some highly de-sirable features: it provides extra lifting surface; it stalls before the main wings—a safety feature; it makes the plane highly maneuver-able at low speed; it prevents spin. For the sporting type it is not only very easy to fly, but supposedly very easy to build. We may see a great many canards in the air soon; re-ports have it that Bert Rutan has sold several thousand kits with plans for assembling the planes. (The rest of us may prefer our can-ards on a platter with a daring bit of wild rice on the side.)

ULTRALIGHTS ■■■Nomm For the purists who insist on the basic sensation of flying, face to face with the wind, body and plane

fused in total control of flight, ultra-lights are the newest wrinkle in flying machines. Basically, the ultra-light is a grown-up glider—an old-fashioned hang glider with a little motor attached. It doesn't qualify to be called an airplane, because it is still foot-launched, and though it may be equipped with wheels, the pilot's legs are still the main land-ing gear. Ultralights have large, very lightweight wings covered in Dacron or Mylar. The pilot hangs in

a sling beneath the wings. The little chain saw en-gines or single-cylinder jobs at-tached to the undercarriage of the plane are used to help lift it off the ground and keep it aloft. But if the little engine should fail, it wouldn't much matter, for the ultralight is -< still basically a hang glider with winds and updrafts to keep it afloat. Small as they are, the mini-motors make a nerve-wracking sound, and the most eagerly awaited develop-ment is a power-pack of recharge-able batteries that will do the lifting job in comparative silence. Better still will be the solar-powered ultra-light—with wings covered with solar cell batteries to capture the sun-light, convert it to voltage and keep the plane aloft by light alone. Then the name "ultralight" will apply in the fullest sense of the word. + THIS PAGE WAS SET IN ITC FRANKLIN GOTHIC ,

0

0

-5 0

.+2

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45

MAKING ART DIRECTORS HAPPY ISN'T SO HARD.

THEY ONLY WANT TWO THINGS.

You think you've got a roster full of tough clients? Look in a mirror and get a peek at one of ours.

Advertising people can be some of the most demanding, exacting, pickiest, critical, stubborn types in the world.That's why we like working for them.

They set their standards high, and so do we. We are the Advertising Typographers Association.The ATA,

for short. Last minute rush jobs, hard-to-find type faces and "it's not right until I like it" production managers do not faze us.

Additionally, all ATA members must pass an exceptionally tough set of standards that include typesetting technology, quality of work and business ethics.

You can't please all the people all the time. But, if you expect to work

for our customers, you damn well better try.

ADVERTISING TYPOGRAPHERS

ASSOCIATION 461 Eighth Avenue, New York, New York 10001.

Walter A. Dew, Jr., Executive Secretary.

ADVERTISING ATA MEMBERS: Atlanta, Georgia Action Graphics, Inc. Bloomfield, Connecticut New England Typographic Service, Inc. Boston, Massachusetts Berkeley Typographers, Inc.; Composing Room of SPOKEN HERE New England; Typographic House, Inc. Cedar Rapids, Iowa Type 2, Inc. Chicago, Illinois J. M. Bundscho, Inc.; RyderTypes, Inc.; Total Typography, Inc. Cincinnati, Ohio Typo-Set, Inc. Cleveland, Ohio Bohme & Blinkmann, Inc. Columbus, Ohio Dwight Yaeger Typographer Dallas, Texas Jaggars-Chiles-Stovall, Inc.; Southwestern Typographics, Inc.; Typography Plus, Inc. Dayton, Ohio Craftsman Type Incorporated Detroit, Michigan The Thos. P Henry Company; Willens + Michigan Corp. Grand Rapids, Michigan Central Trade Plant of Grand Rapids Houston, Texas Typografiks, Inc. Indianapolis, Indiana Typoservice Corporation Los Angeles, California Andresen Typographies; Typographic Service Co., Inc. Memphis,Tennessee Graphic Arts, Inc. Miami, Florida Wrightson Typesetting, Inc. Minneapolis, Minnesota Dahl & Curry, Inc.; Type House +Duragraph, Inc. Newark, New Jersey Arrow Typographers, Inc. New Orleans, Louisiana Martin/Greater Film Graphics, Inc. New York, New York Advertising Agencies/Headliners; Royal Composing Rooni, Inc.; Tri-Arts Press, Inc.; TypoGraphics Communications, Inc. Norwalk, Connecticut Norwalk Typographers, Inc. Philadelphia, Pennsylvania Armstrong, Inc.; Typographic Service, Inc. Phoenix, Arizona Momeau Typographers, Inc. Pittsburgh, Pennsylvania Davis & Warde, Inc.; Headliners of Pittsburgh, Inc. Portland, Oregon Paul G. Giesey/Adcrafters, Inc. Rochester, New York Rochester Mono/Headliners San Diego, California Central Typesetting, Inc. San Francisco, California Headliners/Identicolor, Inc. Seattle, Washington The Type Gallery, Inc.; Thomas & Kennedy Typographers, Inc. St. Joseph, Michigan Type House, Inc. Kansas City, Missouri Western Typesetting Company St. Louis, Missouri Master Typographers, Inc. Syracuse, New York Dix Typesetting Co., Inc. Tampa, Florida Century Typographers Montreal, Canada McLean Brothers, Ltd. Toronto, Canada Cooper & Beatty, Ltd. Winnipeg, Canada B/W Type Service, Ltd. Brisbane, Australia Savage & Co. Brussels, Belgium Graphiservice London, England Filmcomposition Gothenburg, Sweden Fototext/Typografen AB Stockholm, Sweden Typografen AB Frankfurt, West Germany Layoutsetzerei Typo-Gartner GmbH Stuttgart, West Germany Layout-Setzerei Stulle Gmb

Designers, Art Directors and Readers of U&lc:

"The Designer and the Are you at a standstill as technology leaves you behind?

Wasting too much time with mechanicals and art prep?

Want to learn about glowing new possibili-tiesfor pictorial and visual effects?

Can the computer make your professional life easier?

Type composition up in cost, down in quality?

How will your job, your business, your professionalfuture be affected by technology?

Having trouble talking "digital language" with your typesetter?

How will computer-programmedformats and layouts affect graphic designers?

Want to join the elite group of visual commu-nicators that will meet at RIT in May?

Want to try your own hand at computer graphics?

When is a Garamond not a Garamond?

Come to the conference for the answers to these and hundreds of other questions.

Steering Committee Ivan Chermayeff

Chermayeff & Geismar New York, N.Y.

Muriel Cooper MIT Cambridge, Mass.

Louis Dorfsman CBS Inc. New York, N.Y.

Colin Forbes Pentagram Design New York, N.Y.: London

Edward Gottschall U&lc New York, N.Y.

Tom Lunde Newsweek New York, N.Y.

John Massey Container Corporation of America Chicago, Ill.

Eileen Hedy Schultz Hearst Magazines New York, N.Y.

Robert S. Smith Ogilvy & Mather New York, N.Y.

James Ver Hague RIT Rochester, N.Y.

Edward A. Hamilton The Design Schools New York, N.Y.

Conference Schedule Wednesday, May 12

3:30-5 P.M. Registration and Social Hour

5-7 P.M., Buffet Dinner

7:30-9 P.M.

GENERAL SESSION I An Audio-Visual Introduction: "The Designer and the Technology Explosion."

Keynote Address: Changing Signs, Symbols and Signals Gene Youngblood, noted author and lecturer on media.

Thursday, May 13

9-10:30 A.M. GENERAL SESSION II Technology and the Creative Process How technology is changing or affecting the way art directors/ designers create visual images.

Panel leader: Roger Remington, RIT.

Panelists: Aaron Marcus, U. of California Gordon Salchow, U. of Cincinnati Klaus Schmidt, Young & Rubicam Paul Souza, WGBH-TV Mihai Nadin, RISD

10:45 A.M.-12 Noon

SEMINARS 1. Basic Computer Graphics for

the Designer. James Ver Hague, RIT.

2. Typesetting and Composition Update. Allan Haley, ITC.

3. Transforming Information Into Visual Graphics. Fred Goodman, U. of Michigan.

4. The Changing Design Studio. James Ressler, HCM Graphics.

5. Visual Semiotics. Mihai Nadin, RISD.

12 Noon-1:30 P.M., Lunch

1:30-3 P.M. GENERAL SESSION III Work in Progress Translating design ideas into reality with computers. Pan-elists will discuss page makeup, digital type and computer-generated 2-D and 3-D graphics.

Panel leader: Robert S. Smith, Ogilvy & Mather.

Panelists: Judson Rosebush, Digital Effects Tom Lunde, Newsweek Mike Parker, Bitstream Inc.

3:15-4:30 P.M. SEMINARS 1. The Designer and Videotex.

Aaron Marcus, U. of California. 2. Type Design for the 80's.

Steve Byers, Merganthaler Linotype Company.

3. Video Paint Systems. Judson Rosebush, Digital Effects Inc.

4. Creating Slides With Computers. Genigraphics.

6-7:30 P.M., Buffet Dinner

7:30-8:15 P.M. GENERAL SESSION IV The Ultimate Image Processor One system performs color retouching, layout design imposition, separation and finished film. Dennis Kaliser, Sci-Tex.

8:30-10 P.M.

WORKSHOPS AND SEMINARS Some workshops will offer hands-on experience with equipment. 1. Generating Graphics With

Microcomputers. James Ver Hague, RIT.

2. Page Layout and Composition by Computer. Wendy Richmond, Camex.

3. Experiments in Computer Graphics. Muriel Cooper, MIT.

4. Computer-Aided Package Design. Evelyn Culbertson and Bob Kahute, RIT.

5. Computer-Generated Slides. Genigraphics.

6. Communication Networking. Tom Klinkowstein.

Friday, May 14

9 A.M.-12 Noon GENERAL SESSION V Electronic Movie Maps Andrew Lippman, MIT.

Dialogue: The Future is Now Noted designers discuss their ideas and observations about the new technology with a panel of experts.

Panel leader: John Culkin, Centerfor Understanding Media.

Panelists: Louis Dorfsman Mike Parker Ivan Chermayeff James Ressler Klaus Schmidt John Lovenheim Charles Bigelow Mike Klepper Aaron Marcus

12 Noon— I :30 P.M., Lunch

1:30-3 P.M. GENERAL SESSION VI Epilogue: Perspectives on the Future A survey and summary of what the future promises for designers, art directors and communicators. Aaron Marcus, U. of California.

Open Forum Closing Remarks: Conference Co-chairman Edward A. Hamilton, The Design Schools, and Conference Co-chairman James Ver Hague, RIT.

Key Figures at the Conference

The keynote speaker will be Gene Youngblood, internation-ally known author, lecturer and teacher in the fields of electronic art and media. He is uniquely qualified to provide the confer- ence with an educated overview of technology and the communica-tion arts. He has lectured at more than 100 colleges and universi-ties, and his book, "Expanded Cinema," is a classic work of me-dia theory and criticism which has sold more than 100,000 copies. Lou Dorfsman, Vice Pres-ident, Creative Director, CBS

Inc., has legendary accomplish-ments in print, video, film, archi-tectural graphics and packaging. His philosophy: "Good design IS good business" has had a pro-found effect on every area of cor-porate communications. Ivan Chermayeff is one of the most eminent graphic designers in the United States. His remark-able accomplishments span the widest range of graphic design and art projects. Chermayeffs list of professional honors is pro-digious. Robert S. Smith, Vice President/Senior Art Director at

Ogilvy & Mather, is an ambassa-dor to creative communities on five continents, leading seminars on American advertising trends/ techniques. Aaron Marcus is an outstanding example of a gifted designer who has embraced com-puter technology. He has lectured or consulted with many major computer graphics centers. Mar-cus will give the final lecture at the conference, trying to place its content into meaningful perspec-tive. John Culkin, the founder and director of the Center for Un-derstanding Media, is one of the

nation's leading experts on com-munications. Culkin's latest pro-ject is a "phonetic" alphabet. Co-chairmen of the conference are Edward A. Hamilton and James Ver Hague. Hamilton, Design Director, The Design Schools, is former art director of Time-Life Books and the author of the book "Graphic Design for the Computer Age." Ver Hague, Institute Professor at RIT, teaches in the College of Fine and Applied Arts, where he special-izes in computer graphics techniques.

Bigelow Lunde Culkin Haley Souza

Smith

Announcing the design conference planned especially for you. 47

Technology Explosion" This conference is your opportunity to get up-to-date for the sake of your job, your career, your com-pany. Whether your medium is print, video or film, this is the one conference, in the critical year of 1982, that will help you make better use of the fabu-lous new tools and visual techniques available through the fast-emerging computer technology.

To help you meet the challenge, the nation's leading visual communications schools join forces in produc-ing the BIG conference, the one conference that is supported by many of the most celebrated members of the design profession.

You will have an opportunity to view some phe- nomenal visual effects; meet the experts; ask ques-

tions; and have hands-on experience with some remarkable visual devices. There will be panel discussions, lectures, seminars and open forums. The audience of designers and art directors will be encouraged to open up areas for discussion.

All of this—and much more—will take place in the most advanced graphic arts learning environment in the U.S.—the spacious, 400-acre RIT campus, with its modern auditorium and conference rooms.

"The Designer and the Technology Explosion" will help you become better able to react to the forces of change. It will help make you a more effective profes-sional, able to achieve higher quality, improved effi-ciency and better cost control.

Date May 12-14, 1982

Place The campus of the Rochester Institute of Technology. Rochester, N.Y.

Conference Fee $350, which includes programs, conference materials, two lunches and two dinners.

Some of the people who will make the new technology meaningful:

Charles Bigelow, Typographic designer, Bigelow & Holmes, Cambridge, Mass. Specializes in letterform research and com- puterized font design. U.S. typo-graphic consultant to Hell GmbH (digital typesetting systems).

Steve Byers, Dir. of Type Division, Mergenthaler Linotype Company, N.Y. Responsible for de-veloping their library of typefaces and for insuring that the type marketed reflects the latest technology.

Muriel Cooper, Dir., Visible Language Workshop, MIT, Cam-bridge, Mass. Conducts experi-mental projects on emerging technologies that will affect design professionals.

Frederick L. Goodman, Prof. of Education, U. of Michigan. Eminent designer of simulation games. Developed "Decision Graphics" game using computers as tools for translating informa-tion into visual form.

Allan Haley, Dir., Typographic Marketing, Intl Typeface Corp., N.Y. Over 17 years experience as a typographer and type designer. Educator, communicator and author of "Phototypography."

Tom Klinkowstein, Experimen-tal media expert/educator, Hol-land. Utilizes communications technology and facsimile equip-ment to create visual and artistic teleconference events between groups in different cities.

Andrew Lippman, Asst. Prof. of Media Technology, MIT, Cam-bridge, Mass. Involved in develop-ing "movie maps" and other man/ machine interfaces including optical video discs and 3-D imag-ing and sensing systems.

Tom Lunde, Dir. of Design, Newsweek magazine, N.Y. Re-sponsible for art direction and design of magazine for digital generation; preparation of art-work for Video Comp scanner, and quality control.

Mihai Nadin, Prof. of Graphic Design, Rhode Island School of Design. Computer and elec-tronics expert. Specializes in semiotics, a language/process for solving design problems. lending itself to computerization.

Mike Parker, Pres., Bitstream, a new company formed to design and manufacture digital fonts for the graphic arts, Cambridge, Mass. Former dir., Typographic Div. at Mergenthaler Linotype Company for 22 years.

James Ressler, HCM Graphic Systems, U.S. div. of Hell GmbH, N.Y. Authority on computerized four-color scanning, separating and correcting systems, and page-makeup systems.

Wendy Richmond, Dir. of Graphic Design, Camex Inc., Bos-ton. Collaborated on design and production of "soft fonts" for standard color video display. Lec-tured at MIT; consultant to Har-vard U. Press & U. of Texas Press.

Judson Rosebush, Pres., Digital Effects, producers of computer animation for film, TV and print, N.Y. Designer of APL and FOR-TRAN Visions used in animation and the Video Palette.

Gordon Salchow, Chmn., Dept. of Graphic Design, U. of Cincin-nati. Freelance designer/consul-tant. Lectures on future of design/ "New Wave." Member, National Endowment for the Arts Design Improvement panel.

Klaus F. Schmidt, V.P./Dir. of Cre-ative Support, Young & Rubicam, N.Y. Responsible for print pro-duction, art buying, audio-visual facilities and Y&R's art studio. Co-founder of Intl. Center for Typographic Arts.

Paul Souza, Designer, WGBH Ed-ucational Foundation, Boston. Designs print materials, graphics and video animation. Extensive use of computer-generated graphics/animation. Created show opener for NOVA.

This conference is for you if you are an art director, graphic designer, advertising designer, creative director, publications designer, promotion designer, TV designer, type director, studio owner, editor, publisher or anyone else who creates visual materials.

sponsored by:

Rochester Institute of Technology College of Fine and Applied Arts

and

The Design Schools Art Institute of Atlanta Art Institute of Fort Lauderdale Art Institute of Houston Art Institute of Philadelphia Art Institute of Pittsburgh Colorado Institute of Art

Attendance is limited to 300. Make your reservation today. Information about accommoda-tions will accompany the acknowl-edgement of your reservation.

Free chartered buses will be provided for conference attendees lodging off campus.

r Reservation Form Yes, I would like to attend the May 12-14 conference at RIT. Enclosed is my check for $350 (payable to "The Designer and the Technology Explosion.")

Name Title

Company Business Tel. (

Address

City State Zip

Mail to: Rochester Institute of Technology College of Graphic Arts and Photography, T & E Center One Lomb Memorial Drive, P.O. Box 9887, Rochester, N.Y. 14623. Att: Seminar Department

Here's a tip on great type. Great type is easy to come by when you

know where to go. Our customers know that when they need

that special face to bring their design to life, they'll find it in our extensive library.

And we keep adding new faces all the time. For example, we've just added the eight members of the new ITC Cushing family. One of them, ITC Cushing Bold, is shown to the right.

Of course, it's our Comp/Edit phototype-setters that bring your great type to life. They give you 2,208 fonts on-line with a 70-pica line length. And they have features such as programmable kerning, to give you the exact look you want for your job.

And when you need a typeface in a hurry, we'll meet that need. Just call our Type Express hot line. (U.S. and Canada only.) Telephone toll-free 1-800-526-0709. In New Jersey, telephone

1-201-884-2662. In Canada, 1-416-298-2775. We'll have your type disc out of our plant and on its way to you within eight business hours.

For more information and a free copy of our new Type Wall Chart, send the coupon to AM Varityper, Dept. 51, 11 Mt. Pleasant Avenue, East Hanover, New Jersey 07936. Or call toll-free 1-800-526-0709. In Alaska, Hawaii and New Jersey, call 1-201-884-2662.

In Canada: AM Varityper, 165 Milner Ave., Scarborough, Ontario M1S 4G7. Or call (416)298-2700.

In Europe: AM International Information Services Ltd., Varityper Division, 44 Church St., Luton Beds, England. Call 44-582-416837.

Take our tip about type. You'll find we cover all the angles for you.

Comp/Edit, AM and Varityper are registered trademarks and The Informationists, "type" and Type Express are trademarks of AM International, Inc. ©1982 AM International, Inc.

49

CRS 28002

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The bearer is entitled to the use of all fonts in the Alphatype Typefont Library under the terms of the CRS font lease.

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•

This Indlinds SCI in laillpe bold condensed for

d dOilhiefOgC dd ilcrihold, announcing tildr new

Krim of Wares called »Berthold wxklusiv«.

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Clip coupon and send to: H. Berthold AG Tellowkanalstrafie 1-4 D-1000 Berlin 46 West Germany

53

The previous three ads on this subject were a bit on the plain side. We thought that amongst us designers we didn't have to spell everything out in detail. Bg now, however, all the insiders have sent in their coupons and we have to appeal to those of you who need something a bit more tangible before you're prepared to look at our new brochures called «Berthold Exclusivb. There are four of them so far, each one with 16 specially designed pages, often in colour, displaying our exclusive typefaces Comenius, LoType, Poppi Pontifex and Seneca. As we can't possibly reproduce all 64 pages, we've instead decided to illustrate a wag of solving the problem of storing these and other brochures.

berthold fototype

r Apart from the brochures and layout sheets, you'll also get a few self-adhesive labels

to stick on your self-made filing boxes.

There's no charge — just send us the coupon.

Set on berthold ads 3000» in LoType light, 8 keg on 3.25 linefeed.

Written and designed by Erik Spiekermann,

MetaDesign 1981.

Itek

54

WEINZ KURUALIN Available for all ITEK Phototypesetters An EXCLUSIVE ITEK typeface

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WRITE NOW! To receive your FREE set of 6 x 9 display cards with quotations by some of the leading men in the type world. Shown in all three weights of WEINZ KURVALIN. Send your request on your letterhead to: Type Prothotion ITEK COMPOSITION SYSTEMS 34 Cellu Drive Nashua, NH. 03063

55

NEWSLETTER

Skills for Hire*

Humorists Arnold Roth, Lou Myers and Ed Koren strike a pose near posters of their work.

Famous Funnymen 'Fracture' Philly Crowd

NEW YORK, N.Y.—"My Art Institute train-ing was essential, particularly in helping me develop a portfolio of professional-level work," says Virginia Sours, graduate of the two-year Advertising Design program at the Art Institute of Fort Lauderdale. Today, Vir-ginia is an art director at Gretczko Advertis-ing, a Manhattan ad agency whose clients include Sony and Western Electric.

"I took my first art course at a com-munity college," continues Virginia. "After

Whimsical logo for a yoga institute was cre-ated by Art Institute of Pittsburgh Visual Communication student Pam Olson for a Graphic Design assignment.

that, I knew I wanted a career in art. When I graduated, I chose the Art Institute because

, it had a good reputation and taught the skills I needed." The Art Institute also ar-ranged the interview that led to one of her first jobs—as art director for Florida Maga-zine Publishers. Eventually, the lure of a bigger challenge led to New York City and Gretczko. And now, Virginia is even apply-ing for membership in the prestigious Art Directors Club of New York.

yoga

PHILADELPHIA—From miles around, the audience came—an elite group of some of Philadelphia's best-known art directors, de-signers, illustrators and agency heads, many of them prospective employers of The Design Schools' graduates. The event was a conference on "Humor in Graphics" featur-ing the noted artists/comics Lou Myers, Ar-nold Roth and Ed Koren, and sponsored by the Art Institute of Philadelphia and the Art Directors Club of Philadelphia. Myers, Roth and Koren shot off one funny remark after

another, as the audience alternately roared its approval and applauded slides of the three men's delightful and very pointed art. A rip-roaring question-and-answer session closed the three-hour program, with the panelists fielding comments from the floor and the guests responding with some "fun-nies" of their own. As one member of the audience was heard to say: "I haven't seen Philadelphians this amused since Sylvester Stallone offered to donate his "Rocky" statue to the city art museum."

Art director Virginia Sours puts finishing touch on promotional piece for an art gallery client.

Florida Grad Finds Agency Job in New York

Members of the "Humor in Graphics" audience respond to one of the panelist's "funnies."

Graduates of The Design Schools have had 24 months of intensive, specialized preparation in a variety of skills, including: advertising design, typography, photography, illustration, drawing, perspective, lettering, airbrush, package design, multimedia, animation, mechan-icals, pre-separation and many others. They are prepared to work productively for you.

r

Art Institute of Atlanta Art Institute of Fort Lauderdale

1)esIgn Art Institute of Houston Art Institute of Philadelphia hook Art

Institute of Art o colo

Designers, Art Directors: Is technology complicating your profes-sional life? If so, you'll want to attend the big conference, "The Designer and the Technology Explosion," on May 12-14, 1982, at the Rochester Institute of Technology. Sponsored by RIT and The Design Schools, the program is described in detail on page 46 of this issue of U & lc.

Edward A. Hamilton, Design Director 19

The Design Schools Pan Am Building, Suite 256, East Mezzanine 200 Park Avenue, New York, N.Y. 10166

❑ I would like to know more about The Design Schools graduates. Please send me your free booklet "Design Graduates at Work."

❑ I don't have an opening at present, but please keep me advised. ❑ I'd like to know more about "The Designer and the Technology Explosion."

Name Position

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Address City State Zip

Skills of special interest to me

*The

56

lioNNoN BOOK • OBLIQUE • BOLD • EXTRABOLD

57

Shannon typeface family The inspiration for this new design Compugraphic offers all of the im-

L, is Compugraphic's latest, came from the majuscule (upper case) portant new designs from sources like exclusive premiere design. Our letterforms in The Book of Kells, an ex- Typesettra, Type Spectra, International

Type Division has successfully melded ample of Irish calligraphy from the Typeface Corporation (ITC), T. J. Lyons, several technologies, including utiliza- eighth century. Shannon draws addi- FONTS and Typographic Services Inter-tion of computer software directed tional inspiration from contemporary national. Write us today for your free

by highly skilled artists. sans serif type styles. Shannon typeface poster!

compugraphic® Compugraphic Corporation,Type Division, 66 Concord Street, Wilmington, Massachusetts 01887

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DYNAMIC tilIAPHKN, INC.

58

The art alone costs us more than $11,000 You can have it

rml•

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MAIL TO: 1.00

imummum■ SEND NO MONEY NOW

MAIL THIS COUPON TODAY FOR FREE TRIAL ISSUE

O.K. I'd like a free trial issue of Clipper°. So enter my order for a one-year, 12-issue subscription to Clipper Creative Art Service® at $29.50 per month, (FOB Peoria, IL, USA). After the first 12 issues, continue to ship Clipper monthly subject to my written cancellation notice 30 days prior to publication (20th of each month).

However, first send me the FREE TRIAL ISSUE, which I may review and use. If I decide that Clipper is not for me, I may cancel this order within 15 days, keep the FREE ISSUE and owe nothing. (Note: This offer applies in North America only.) Otherwise, I agree to complete payment as follows:

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That's right. Our art costs for a typical Clipper® issue exceed $11,000. And that's only the beginning. The suggested layouts, demonstrations and helpful tips that are part of every monthly issue cost $ thousands more.

Yet you can have it FREE! Why? Because we want to put a representative sample issue of Clipper Creative Art Service® in your hands. We're sure that once you see and use Clipper, you'll want to subscribe.

What is Clipper? Clipper is the world's leading monthly art and idea service. It's created by scores of America's top professionals — illustrators, designers, photographers and lettering stylists. These same talented people do work for many of the nation's most respected publishers, advertisers and their agencies.

But Clipper is much more than first-quality art. Each monthly issue contains dozens of idea-inspiring demonstrations and suggestions for using the art. Layouts may include visual suggestions for brochures, pamphlets, annual reports, ads, campaigns, billboards, vehicle signage, newsletters, letterheads, posters, covers, promotions, T-shirts and much more.

Always fresh, new and inspiring Clipper art never repeats itself. You always get original material in a wide variety of styles and techniques — all crisp, contemporary, and provided on 70 lb. Kromekote for flawless reproduction. Clipper also anticipates the seasons well in advance to give you ample time to prepare and present projects for clients or your supervisor.

12 issues a year, 24 big pages in each A Clipper annual subscription includes 12 monthly Clipper issues, 3 monthly pictorial indexes, a Cross Reference Index (of the 8,000-plus subject art library), vinyl binders for both issues and indexes, plus 12 monthly issues of "Clip Bits" — the "how-to" magazine supplement.

Clipper will arrive on your desk or drawing board about the 20th of each month. In it are 24 big pages (12 1/2" x 19") containing scores of individual illustrations, decorative headings, special-effect photos — even a ready-to-print color separation.

You'll also have dozens of suggested applications — finished layouts — with headlines and copy in position. Not that you'll use them as they are — but they're great idea starters that you can easily modify or simply adapt to your own needs with appropriate copy and logo changes.

World's largest commercial art library —always at your service Suppose you're a new Clipper subscriber and you don't have the particular illustration or graphic element you need. No problem. Just call our Special Services Department and tell us what you want (there are more than 8,000 subjects cataloged in our Special Services art library). This exclusive Clipper subscriber service is yours, without charge, aside from postage and handling.

How do you know you'll like Clipper? We're convinced you will. But try Clipper yourself and see. Simply complete and mail the coupon at left. We'll return a special Clipper Sample Issue containing more than $11,000 worth of original art. Use it. Then decide if Clipper is everything you think it will be. No risk. If you decide Clipper is not for you, however, simply cancel your order within 15 days and owe nothing.

Mail this coupon today for your Free Clipper Sample Issue

Dynamic Graphics, Inc. 6707 N. Sheridan Rd., P.O. Box 1901, Peoria, IL 61656-1901

59

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® 111• • 0 I [] »* /5/64 can you get so many characters in so many weights, with the added bonus that each weight has the same widths. It sounds strange. But it does mean that you can change the weight, or introduce bold characters without having to re-justify. If you want to push up or down one or even two weights, any proof reading that has been done doesn't have to be done again. If there has been difficulty getting rid of widows, there will be no new problems. We believe all big typesetters should have the whole range, so that any job they get asked for can be done, whatever it may hold in foreign language quotations, including Russian, Greek, Icelandic, and even Serbo-Croat. You name it. We've drawn it. And because it is not a gimmicky face, it works in books, magazines and even in newspapers. Now that it is beginning to find its way on to more systems, people are beginning to try it. It has already been used to set the text of one new magazine, and has appeared in both prestigious and work-a-day situations. It is succeeding beyond our most hopeful expectations. So a. 4 se? In order announcement

ceanttch the ofeticdoe of this enthusiasm we thought eldtoght introduce in the

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ofeua8pirceliminary

We want to build up a portfolio of how it is being used to help in our promotion. What better way than to have a competition. We have provisionally planned five categories: for use of Else in Books, in magazines, in Display advertisements, in Mailing shots and in corporate literature. At this stage the prize we plan is a week at one of our favourite hotels in the world, the Hotel de l'Abbaye on the shore of Lake Annecy at Talloires, plus five hundred dollars towards the travel, for each winner. Winners will get breakfast and dinner, but knowing the capacity of those who work in this racket, they will have to pay for their own booze. The saving on booze will probably allow us to introduce an additional prize for students. One judge, Norton,will be biased towards good looking contenders and anyone rich enough to bribe him. The other four will be the model of propriety, incorruptible, and have between them a wide and distinguished experience in many countries, and in all the categories. This is not so much the official announcement as a leak to prepare you for thinking more about Else, and saving an example of any job you are proud of that uses it. The early bird, they say, gets the worm. NORTON PHOTOSETTING • P 0 BOX 13 • PRINCES RISBOROUGH • BUCKS • ENGLAND

Where Else

60

"Say hi to my two favorite night crews. The one at Billy Goat's and the one at Ryder.7

Marcus Kemp worked in Chicago for many years, then moved to yet another city with bad winters and a lousy football team.

Every art director has a favorite rush job story. Heres mine. At 5:00 p.m. I finished the layout for a full-page newspaper

ad that had to be at the publication in NewYork the next morning. At 5:01 p.m., I called Ryder

"There was absolutely no time for re-do's: 1 here wasrit even time enough for me to see the ad before it had to be shipped.

"Ryder set the type:1 They assembled the art:1 hey keylined the adThey even engraved it And shipped it out by morning.

"It was perfect. I wouldn't have changed a thing. 1 "I'm very proud to say, my opinion was shared by

Vt CA, the Andy's and Clio's. "And the whole time the crew at Ryder was working their tails

off, I was sitting on my butt at Billy Goat's drinking beer" RyderTypes Inc., 500 North Dearborn Street -

Chicago, Illinois 60610.Telephone (312) 467-7117

BUY BOTH FOR$129'5 The full collection-98 books! All 1977 books plus the Fabulous Fifty. Averages less than $1.35 per book and about six cents each for the 2,000 illustrations. A $336 value—save over $200.

PLEASE CLIP & MAIL THIS ENTIRE ORDER FORM

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

FINAL CLOSEOUT! SAVE OVER 100 $ 95 FABULOUS FIFTY

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Street Address Please for UPS

CLOSEOUT! ALL 1977 "CLIP BOOKS" 61 48 DIFFERENT BOOKS $7995 1000 ILLUSTRATIONS FORMERLY '168

Final closeout with the former price cut to less than half to move out quickly. All remaining 1977 libraries of "The Clip Books of Line Art!" Complete sets of 48 dif-ferent books along with illustrated miniature indexes on many, but not all. A hard-working collection of the 16 titles shown at right plus 32 others not shown because of space limitations. These are:

Autos, Autumn, Borders, Christ-mas, Circus-Fair, Crowds, Design Devices, Jane Doe, John Doe, En-tertainment, The Farm, Good Old Days, Hands, Hobbies, Home-maker, Industry, Law & Order, Medicine, Men, Menu, Outdoors, Pointers, Science, Spring-Summer Sports, Spring, Summer, Teens, Tourism, Wedding, We're #1, The Year and Zanies.

About 1000 all different illustra-tions—all ready to clip and paste —at less than eight cents each. About $1.65 for an entire book!

Handsome ready-to-use art crams each of the 480 pages with each 5x8-inch page impeccably litho-graphed on one side of glossy "Kromekote" reproduction stock.

If you're in a budget bind (and who isn't?) you'll find instant relief in the "Clip Books"—with better looking graphics in the bargain. For nearly 30 years, our top qual-ity, black-and-white line art has been saving time and money for ad agencies and advertisers throughout the world.

Our supply is limited so please order now while you're thinking about it. Please use the order form below and mail it today! Save even more—enclose your check with order and we will absorb UPS ship-ping charges.

(Important—none of the books shown on this page are sold in-dividually and "Clip Books" are not available in stores.)

Out they go! And at a price much less than half of the former value. All remaining books of recent years, carefully selected in a well-rounded collection of fifty different titles to save you time and money. The set also includes illustrated miniature indexes on many, but not all titles.

A hard-working collection of more than 1000 different illustra-tions—all ready to clip and paste —at less than six cents each. About $1.20 for an entire book. Handsome ready-to-use art crams each of the nearly 500 pages with each 5x8 inch page handsomely lithographed on one-side of glossy "Kromekote" reproduc-tion stock.

If you're short on either time or money, this offer is something you ; can't pass up. You'll use the art effectively in ads, booklets, bul- ; letins, newspapers, magazines, circulars, catalogues, direct mail, lin

posters, dealer aids, TV, AV, etc. ! Best of all, everything is in simple black-and-white line with no hard- I to -handle half -tones. I ❑ 1977 LIBRARY, $168 value $79.95

For nearly 30 years, our top I ❑ Fabulous Fifty, $168 value $59.95

quality art has been serving art Both of Above, $336 value $129.95 users from the "Fortune 500" I down to one man shops. But, our I supply is limited so order early I before they're gone forever— I they'll not be reprinted. Use the I order form at the right and act I today. Save even more—enclose I your check with order and we'll QUALITY ART SINCE 1952 absorb all UPS shipping charges. Ilimmiumummiuum.

VOLK CLIP ART, INC. BOX 72 L, PLEASANTVILLE, NEW JERSEY 08232

Please rush us the complete library checked below. Our covering purchase order is enclosed. Charge to our established, active account and invoice us at rates below plus UPS shipping charges. ❑ Our check is enclosed—you absorb all shipping

charges. (Outside USA: payment in US funds, on US bank, with order. In N.J. include 5% sales tax.)

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ZIPATONE WORKS

FOR YOU Take our regional manager Bill Cason in St. Louis, for example.

Bill, in conjunction with a local dealer, was asked by an in-terior designer to help solve the problem of adhesive bleed-through in laminating a variety of products to fab-ric and canvas. He also was having problems with a com-petitor's spray adhesive clogging. Bill, recommended ZIPATONE SPRAY CEMENT #3140, because of his exten-sive knowledge of his dealers other products used in the designers process.

After thorough testing of all available competitive prod-ucts the designer found that the ZIPATONE SPRAY CEMENT#3140 was the only product with a consis-tency that would not bleed through and yet would not clog. He also was impressed by the LOW ODOR LEVEL and the FLUOROCARBON FREE, ECOLOGICAL SAFE formulation.

We have 16 people like Bill throughout the United States who provide service and expertise such as the above everyday. If we can be of help to you on any of your problems or projects please contact us.

zipalone ine 150 Fend Lane, Hillside, IL 60162

CF

69

"Advertising is the cave art of the twentieth century." Marshall McLuhan

Rejected by a trade publication as "insulting to art directors," this literal interpretation of Marshall McLuhan's phrase, "Advertising is

the cave art of the twentieth century," has been privately printed for aficionados. In sepia color, 18 x 21 inches, it was conceived by art director Bernie Zlotnick, photographed by his friend Carl Fischer. The Poster Company, 121 East 83 Street, New York 10028. $15 postpaid.

Two new text and advertising type designs especially digitized for our typesetting system.

Cardinal Fine typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the ddsigner must care. In contemporary advertising the perfect integration of design elements often demands unor- thodox typography. It may require using wrong fonts, cutting hyphens in half, using smaller than normal punctuation marks; in fact, doing anything that is needed to improve appearance and impact. Stating specific principles or guides on the subject of typog-raphy is a practice to be approached only with a goodly measure of restraint. There should be an ever-present awareness of the purpose to be served, the mood to be inspired, the message to be con-veyed. No rule is useful if it inhibits or restricts the ultimate purpose of the design. Fine typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contem-porary advertising the perfect integration of design elements often demands unorthodox typography. It may require using wrong fonts,

Packer Text Fine typography is the result of noth-ing more than an attitude. its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unor-thodox typography. It may require using wrong fonts, cutting hyphens in half using smaller than normal punctuation marks; in fact, doing anything that is needed to improve appearance and impact. Stating specific principles or guides on the subject of typography is a practice to be approached only with a goodly measure of restraint. There should be an ever-present awareness of the purpose to be served, the mood to be inspired, the message to be conveyed. No rule is useful if it inhibits or restricts the ultimate purpose of the design. Fine typogra-phy is the result of nothing more than an atti-tude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integra-tion of design elements often demands unor- thodox typography. It may require using wrong

MO. M J MUMWELL lYPOGRAPHYINc. 4 61 81 = A FA .1

\1N YORK \Y 10001 (2'2)868-0515

1117312(101for your (typographic) In

A mini-glossary of computer/typographic terms. Compiled by Paul Doebler and Edward M. Gottschall.

Programmer A person who invents a sequence of instructions in a com-puter language to perform operations on input to get a desired output. Programmers use "languages" such as Cobol, Fortran,Assembler, as opposed to typesetting mark-up personnel who use commands supplied first by a pro-grammer to achieve their desired results.

Quad (noun) Spacing material used to fill out an incomplete line at the end of a paragraph etc.

Quad (verb) To space out the blank portion of a line to its full measure. Quad left [flush left) would require spacing out an incomplete line from the.last chara&er to the right-hand margin so that interword spaces remain consistent and the left side of the text always starts at the left margin of the measure. Quad right means the opposite.Quad center would mean centering the line and adding equal space on the left and right to com-plete the measure. In metal typesetting, quadding is done by inserting less than type-high metal to fill out a line. The term is still used in phototypesetting by those familiar with metal typesetting terminology. Most people today simply say"flush lefr"flush right:'"centeree

The setting of text type with an irreg-ular appearance on either one or both margins, such as ragged right, ragged left, ragged center. In ragged setting, interword spaces are not expanded for justification. Ragged setting is the opposite of flush setting in which even margins are created on both sides of the text.

Qwerty Generally refers to the layout of keys on the keyboard of a standard typewriter.Qwerty layouts are used on many photo-typsetters and typesetting keyboards. The term comes from the left hand "Q-W-E-R—T-Y" sequence of keys on top letter row of a typewriter.

Ragged (Unjustified) The setting of text type with an irregular appearance on either one or both margins, sucli as ragged right, ragged left, ragged center. In ragged setting, interword spaces are not expanded for justification. Ragged setting is the opposite of flush setting which even margins are created on both sides of the text.

Raised Initial An initial character, usually a capital letter, which projects upward from the first line of type; sometimes called stick-up initial.

Random Access, Random Access Memory (RAM) A system of data storage, usually on disc, in which a record is accessible independent of its location in relation to the previous record assessed. Usually used to differentiate from serial or sequential access, in which a given record can be reached only by scrolling through previously stored records.

ADVERTISING MARKETING PROMOTION

SALES BROCHURESTYPE EXHIBITS BOOKL ETS GRA PH ICS BUSIN E SS CAR DS

CONVENTIONS POSTERS STAGING STATS TYPE COMPSPHOTOGRAPHYEXHIBITSDESIGNPOSTERS

VI DEODESIGN BUSI NESS CAR D S L E TTERHEADSSLI DES STAGINGADVERTISI NG TYPE BUS I NE SS CARDSEXHIBITS

BRCCHURESMARKET I N G CO M P S P 0 ST E RS PHOTOGRAPHY SU DESSALESPROMOT ION EX HI BI T S LOG ODESIGN3MSSTATS

VI DEOMARKETING BOOKL ET S T YP E S AL ES CONVENTIONS GRAFHICSBUSIN ESSCA R DS S L I D E S 3 M S S TATSMARKETI NG

EXHIBITSVIDEOMARK ET IN G POSTE R S B 0 OK LETS BROCHURES GRAPFIICSADVERTISINGGRAPH ICS E X H I B I TS B RO CH U RESVIDEOSTATS

COM MERCIALSPOSTERSCOMPS ST AG I N 03 M S G RA PH ICSSALESDESIGN BUSINESSCARDSLEITER HEADSVI DEO SALES E X H IBITSPOSTERS3MSTYPE VI DEODESIGNCOMM ERCIALSCOM PS DES IG N C 0 N VE N TIONSDESIGNCOM PS BOOKLETSMARKETI NG SLI DES PHOTO G R A P H Y TYPE GRAPH I CSSTATSVI DEO A DVERTISI NGSTAGI NG MAR KETI NG BOOK LETS CO M M ERCIALSLOGODESIGN BROCHURESSUDESCOM M ERCIALS STATS S LI DES POSTE RS SPACEADS3M S V I DEOSALESTYPE DESIGN BUSI N ESSCAR DS TY PE L ETT ERH EADSG RAPH ICS COM PSP HOTOGRA PHY E XH I B ITS STAGING VIDEO MARK ETI NGADVERTISI NG BOOKLETSSTAGINGCON VENTI ON S BOOKLETS SLIDESSTATSMARKETING SPACEADSSTATS DESIGNADVERTI SING COMPSBUSINESSCARDSPOPTYPE

SALESCONVENTIONSGRAPHICSSALESMARKETING BROCHURESCOMPS STAGINGADSCOMMERCIALSSLIDESLETTERHEADSGRAPHICSSTAGING

BUSINESSCARDS LOGO DESIGN COMMERCIALSCOMPSPOSTERS3MS ADVERTISI NOSTAGI NG GRAPHICS SPACEADSCONVENTIONSTYPE

MARKETINGPOSTERSEXH [BITS STAGINGLETIERHEADSSALES SALES PROMOTION VI DEODESIGNSUDESPOSTERSSTAGING

SLIDESCOMMERCIALSSTATSLETFERHEADSCOMPS3MS LOGODESIONSTAGINGVID EOMARKEIMICIORAPH I CS

LETTERHEADSTYPEBUSINESSCARDSSPACEADS 3MSVIDE00ONVENTIONSSTATSCOMMERCIALS

STAGINOCOPAPSTYPE SALES PROMOTIONADS TYPE EXHIBITSSUDES DESIGN MARKETING ADVERDSINGSTAG I NG POPBROCHURES BROCHURESSALESPROMOTIONSU DES VI DEOSTAGING3MSSLI DESBOOKLETS COMPS3PASBUSINESSCARDSDESIGN SLI DESSALES STAT S LETTERHEADS COMMERCIALS EX HI BITSGRAPH ICS SPACEADS3MSSALESPROMOTION BUSINESSCARDS PHOTOGRAPHY BROCHUR ESGR A PH ICSSTAG ING EXHIBITSPOSTERSSALESVIDEO BUSINESSCARDS MARKETING

MARKETING LETTERHEADS SALES PRO MOTIONVIDEO

For quality that goes beyond words.

communications + plus inc. TYPE + GRAPHICS + VISUALS

360 PARK AVENUE SOUTH NEW YORK, NEW YORK 10010

(212) 686-9570

70

State of the Art Equipment for High Quality

Computerized Arabic Typesefting

Utilizing the latest in computerized Arabic photocomposition equipment, complicated jobs such as

books, annual reports, contracts and other large volume text are handled with the highest degree of

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Authentic Arabic Translation

Technical and scientific literature, manuals, ads, books brochures and annual reports are translated

by a professional team of native Arabic translators.

Calligraphy and Display Type

More than 15 new Arabic typefaces designed exclusively for Albert Graphics by the leading

calligraphers in the Middle East. And the latest trends in display type, plus in house calligraphy.

I Ci 4-lir AO Ii*-1,111d

Albert Graphics Inc. One West Baltimore Ave., Lansdowne, Pa. 19050

(215) 259-6878

11111% ■■g AM® 111 IMP w Noir Im

SEPARATIONS MAKE THE DIFFERENCE

and we'll proof g it ! 11110. call NI toll g% free ‘■

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Yes...you are only a phone call away from greater sav-ings, better quality, and faster service buying color sep-arations than you have ever known before.

We have created at =Go:: one of the finest teams of color separation craftsmen ever assembled, camera-men, strippers, dot etchers, and pressmen that are all dedicated to producing high-quality color separations, true professionals producing separations.

To augment their fine technical ability, we have the most advanced photographic systems and our in-house press proofing staff is second to none.

^r. offers you fast, reliable service nationwide with door to door service! But best of all, we offer this fine color separation service at a very reasonable cost... including press proofs with minor corrections. Call toll free -1 800 327-9786 and start saving today - we are only a phone call away!

P.O. Box 3633—S.W. 57th Terrace—West Hollywood, Fla. 33023

Here's a great deal to help you Reform your ways!

This highly functional pen module—normally priced at $19.95—can be yours FREE when you purchase the incredible Reform9efograph 8-pen set at your favorite dealer.

a whole new dimension in The Reform . !, Refograph is

technical pens. Draftsmen, REFORM^ REFOGRAPH

engineers, designers and artists PROFESSIONAL everywhere, are discovering its S-PEN SET amazing versatility. It's the only pen that draws full line widths at drawing angles less than 80 0 . It starts instantly everytime when you use it. It's amazingly easy to use, even at higher drawing speeds—with no blobs and excellent line quality. And it won't dry out. It's so great, it carries a

money-back guarantee. Time saving con-

venience is how we describe the versatile pen module. It enables artists and draftsmen to keep a superbly ffaia DIM@ organized drafting or FOR GRAFTING, ENGINEERING studio setup. Pens AND GRAPHIC ART SUPPLIES

snap into color coded receptacles that provide air-tight sealing. No drying out ... no constant

recapping during daily use. And it mounts easily to any surface. There's nothing else like it! This special offer is avail-

able only at participating Alvin Reform? Refograph dealers, and expires June 30th, 1982. Get a pen module for better working condi-tions. Send coupon today ... for complete details and name of dealers in your area.

I want to Reform my ways. ❑ Send me full color brochure of the

Reform® Refograph Technical Pen. ❑ Send me names of the Alvin Reform®

Refograph dealers in my area.

Name

Title

Company

Address

City

State, Zip Send to Alvin & Company, Inc. P.O. Box 188AR, Windsor, CT 06095

17866T Contains. 8 pens in stainless-steel or tungsten points 300/25 -

31/2/ 1.0. Hinged smoked plastic case. Drawing

ink bottle. Retail Value 568.50. (5132.50 tungsten points)

71

STOP PAYING $200 FOR $420 WORTH OF T

I Bhyo unsoew:

you've .u.'vdeu heard eatrord tfhroemi hy eorueratsyepde

and supplies, we regret that we must raise our prices ..." Or, maybe the way you found out about it was by having your socks knocked off when you got your latest type bill. Type prices, which have been get-ting ridiculous in the last few years, have now become totally outrageous!

At ARNOLD & DEBEL we offer advertising quality text and display typography at a fraction of what the big shops charge! We operate around the clock so you can expect 9AM delivery on all jobs. Call Ivan Debel today at 889-3711. You have nothing to lose except outrageous type bills!

AD ARNOLD & DEBEL INC.

TYPOGRAPHERS 270 MADISON AVENUE NEW YORK, N.Y. 10016

(212) 889-3711

Get this time-saving pen module

FREE 619.95 Value!)

REFORMAT DRY-SEAL MODULE Unique one-of-a-kind

pen module accommodates 8 pens for daily use. A $19.95

Value, yours FREE with purchase .

When you purchase this 8-pen set.

Lavinia says finishing school is doing wonders. I

I'll say. Her letter's on ClassieCrest.

tfr/Iikyta

UM)

Neenah Paper Classic Crest — prestige paper with a smooth, formal finish.

Neenah Paper A Kimberly-Clark Company Neenah, Wisconsin 54956

©1 982 K.C.C.

ARTISTS, DESIGNERS Dick Blick wants you to have

this 32-page mini-catalog. It's a concentrated selection

of materials that you use every day — pens, papers, boards, films, etc. — all from major manufacturers; all at Blick's low, low prices. But here's the best part: we'll pay the shipping charges on your entire order from this catalog until June 30, 1982!

Dick Blick now has offices and warehouses in Pennsyl- vania, Nevada and Illinois for

the best service pos- sible. Don't be late — send us the coupon right away. And'for a more comprehensive look at the Dick Blick line, a 336-page cat- alog is also available.

Dick Blick Dept. UL, Box 1267, Galesburg, IL 61401

If • 1. .17:N

I want the Graphic Art Materials Mini-Catalog.

Name Title

Company

Address

City, State, Zip

Dick Blick, Dept. UL, Box 1267, Galesburg, IL 61401

for

0 Irly(111 A mini-glossary of computer/typographic terms.

Compiled by Paul Doebler and Edward M. Gottschall.

Raster

Line scans traced across the face of a CRT tube by a flying spot of light; the lines may be close together or relatively far apart, as on a television screen.

Raster Scanner

The hardware required to perform the scanning function.

RC Paper

Resin-coated paper. Designed for conventional photographic processing and used for high-quality typographic images on paper. It has a paper base and an emulsion, as do most photographic papers and, additionally, the front and the back of the paper are coated with resin rendering it almost completely waterproof during processing. RC paper can be processed about three times as rapidly as other papers and the image is permanent. Processing equipment is more ex-pensive than for stabilization papers.

Realtime (Real Time)

Performance of a computerized operation within the actual time the same operation would take if done in a non-computer mode, thus giving the impression of instantaneous response.

Reverse Leading

The ability of a typesetting machine to move the material on which exposures are being made in two directions: up and down. Th is enables the machine to set two or more columns on the same sheet and to perform other functions of area composition.

your (typographic) information

Reversible Display

A screen that can be instructed to show either dark characters on a light background or light characters on a dark background.

Run In

R R

1.To merge a sentence or paragraph with the preceding one. 2. To insert new copy (whether due to an omission of the operator or an author's addition) into the text.

Run Manual

A manual documenting the processing system, program logic controls, program changes and operating instructions associated with a computer run.

Runaround

Type set to fit around an illustration, box or irregular shape.

Scanner

A scanner recognizes the presence or absence of data on a surface, such as magnetic tapes or discs, printed sheets or photographs.

Scroll

To cause lines of type on a VDT screen to move up or down and in some cases left or right so that, as they move off screen other copy moves onto it.

Sequential Storage

Data can be stored in a linear mode, as a string of codes on tape. Often it is less expensive than random access storage but usually it takes more time to find data.

72

73

duoprint® 1400 THE WORLD'S MOST ADVANCED R. C. PAPER & FILM PROCESSOR. Develop—Fix—Wash—Dry any length up to 14" wide Variable Speed —Variable Temperature Self-contained—No Plumbing-110 V. Compact—Rugged—Easy to Clean

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duostaf corporation 114 Beach Street Rockaway New Jersey 07866 (201)-625-4400

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Refinement: Enlightenment & excellent taste resulting from intellectual development: The ability to distingu ish, especially to recognize small differences or dra w fine distinctions. Refinement: Enlightenment & e xcellent taste resulting from intellectual developme nt; The ability to distinguish, especially to recogni ze small differences or draw fine distinctions. Re finement: Enlightenment & excellent taste resulti ng from intellectual development: The ability to distinguish, especially to recognize small diffe rences or draw fine distinctions. Refinement: Enlightenment & excellent taste resulting fro m intellectual development; The ability to di stinguish, especially to recognize small diff erences or draw fine distinctions. Refinem ent: Enlightenment & excellent taste result ins from intellectual development; The a bilitylo distinguish, especially to recogn ize small differences or draw fine distin ctions. Refinement: Enlightenment & e xcellent taste resulting from intellectu al development; The ability to dusting uish, especially to recognize small d ifferences or draw fine distinctions. Refinement: Enlightenment & exce Bent taste resulting from intellectu al development: The ability to distinguish, especially to rec ognize small differences o

r draw fine distinct ions. R e fine men t:

Enlighten merit & excel'

ent tast e resulting f rom intellect ual develop ment: Thv ability to di stinguish, especially to recogni ze small differenc es or dr aw fine distincti ons. R cline meat: Enlig

htenm ent & excelle

nt taste resulting from intellectual development; The

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GRANITE GRAPHICS 19 Franklin Place, Rutherford, N.J. 07070

201-438-7398 212-772-0364

Fine Typography

AZURE

rtp.

* Chartpak reserves the right of color selection. Allow 4-6 weeks for delivery. Offer expires June 30, 1982.

STEEL

Wedge Firm, fast starting, long wearing beveled points.

Bullet Works well for small sub-heads, tight renderings of illustrations.

The difference 200 colors plus an

interchangeable nib system.

Chartpak now offers the AD Marker assort- ment of 200 quality, permanent markers

with a complete range of pastels and warm and cool grays.

Find out for yourself! Send in the coupon with 250 to cover postage

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Line interchangeable nib.

111•Thl NMI MI Mall= For your free sample, send 25C to cover postage and handling to: Chartpak, P.O. Box 286, Leeds, Massachusetts 01053.

I Name

Company

chartpak Address

A TIMES MIRROR COMPANY LEEDS, MASSACHUSETTS 01053

City

DIDCOT, ENGLAND OX11 7NB MISSISSAUGA, ONTARIO L4W 2V6 State Zip

CID

MARKER

Fine Line Used for detailed drawings, small letter-ing, indicating body text type.

Brush Large areas with even strokes, poster work and large lettering.

I

If they all spoke English you wouldn't need S

America's premier source of foreign-language typography for advertising and marketing communications.

Call or write to request a complimentary subscription to our Newsletter on international marketing and graphics.

Spectrum Composition 264 West 40th Street, New York 10018 212-391-3940

deasers in Oraphics TM ELECTRONIC PUBLISHING IN THE BO's

Proceedings of the 3rd Annual

Laser's In Graphics/Electronic Publishing in the 80's Conference

• Volume I Electronic Prepress Technology and Subsystems • Volume II Electronic Page and Signature Make-Up

• OVER 1000 FULLY ILLUSTRATED PAGES ON ELECTRONIC PREPRESS SYSTEMS & COMPONENTS

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74

Only the following Subscriber Companies are licensed to manufacture and sell ITC typefaces:

H. Berthold AG Teltowkanalstrasse 1-4 D-1000 Berlin 46 Germany (030) 7795-1 Diatronic, ADS 3000, Diatext, Diatype, Staromatic, Staromat, Starograph

Berthold of North America 610 Winters Avenue Paramus, N.J. 07652 (201) 262-8700 Diatronic, ADS, Diatype, Staromat, Diasetter, Repromatic

Dr. Boger Photosatz GmbH 2 Wedel in Holstein Rissener Strasse 94 Germany (04103) 6021-25 Manufacturers of Copytronic Phototext Composing Machines, Film Fonts, and Copytype Photolettering Systems and Fonts

Cello-'Iak Mfg., Inc. 35 Alabama Avenue Island Park, L.I., N.Y. 11558 (516) 431-7733 Dry Transfer Letters

Chartpak One River Road Leeds, Mass. 01053 (413) 584-5446 Dry ltansfer Letters

Compugraphic Corporation 80 Industrial Way Wilmington, Mass. 01887 (617) 944-6555 EditWriters, CompuWriters, Text Editing Systems, Accessories and Supplies

Esselte Dymo N.V. P.O. Box 85 Industrie Park-Noord 30 B-2700 Sint-Niklaas Belgium 031/76.69.80 (10 1.) Visual Systems Division

Film Fonts International, Inc. 330 Phillips Ave. South Hackensack, N.J. 07606 (201) 440-9366 Manufacturers of fonts for Alphatype/Alphasette 2" Display Film Fonts Harris Fototronic 1200, TXT, 4000

Filmotype 7711 N. Merrimac Avenue Niles, Illinois 60648 (312) 965-8800 Film Fonts

Fonts Hardy/Williams (Design) Ltd. 73 Newman St. London WI England 01-636-0474 Font Manufacturer

Fundicion Tipografica Neufville, S.A. Puigmarti, 22 Barcelona-12 Spain Poster Types

Geographies, Inc. 1100 Seymour Street Vancouver, B.C. Canada V6B 3N3 (604) 685-8236 Dry Transfer Letters

Graphic Products Corporation 3601 Edison Place Rolling Meadows, Ill. 60008 (312) 392-1476 Fbrmatt cut-out acetate letters and graphic art aids

Harris Corporation Barris Composition Systems Division PO. Box 2080 Melbourne, Florida 32901 (305) 259-2900 Fbtotronic 4000, TXT, 1200, 600 CRT 7400, 7450

Dr.-Ing Rudolf Hell GmbH Grenzstrasse 1-5 D2300 Kiel 14 Germany (0431) 2001-1 Digiset Phototypesetting Equipments and Systems, Digiset-Fbnts

Information International 5933 Slauson Avenue Culver City, Calif. 90230 (213) 390-8611 Phototypesetting Systems

International Graphic Marketing Rue des Bosquets 12 Ch-1800 Vevey P.O. Box 33 Switzerland Font Manufacturer

International Type lkints ApS c/o Cooper & Beatty, Limited 401 Wellington Street West Toronto M5V 1E8 • (416) 364-7272 Type Discs for Harris 600, 1200, 4000, TXT Typesetters

Itek Composition Systems Division 34 Cellu Drive Nashua, N.H. 03060 (603) 889-1400 Phototypesetting Systems and Equipment, Film Strips, Standard and Segmented Discs, and Digitized Fonts

Laboratoire Michot 23, Route De Seurre 21200 Beaune Fiance 80-22 23 73 Manufacturer of fonts for: Singer/GSI/Wang Typesetters 44 and 48

Letraset International Ltd. St. Georges House 195/203 Waterloo Road London SE1 84J England (01) 930-8161 Dry Ttansfer Letters

Letraset USA Inc. 40 Eisenhower Drive Paramus, N.J. 07652 (201) 845-6100 Dry liansfer Letters

Linographics 770 N. Main Street Orange, California 92668 (714) 639-0511 Display Typesetters, 2" Film Fonts

Mecanorma 78610 LePerray-en-Yvelines Paris, France 483.90.90 Dry Transfer Letters

Mergenthaler Linotype Company 201 Old Country Road Melville, N.Y. 11747 (516) 673-4197 Linoterm, V-I-P, Li notron, Omni-tech CRTtonic, Phototypesetting Equipment and Systems

Metagrapbics Division of Intran Corp. 4555 W 77th St. Edina, Minn. 55435 (612) 835-5422 Digital Fonts for Xerox 9700

The Monotype Corporation Ltd. Salfords, Redhill, Surrey, England Redhill 6 5959 Visual Communications Equipment

Officine Simoncini s.p.a. Casella Postale 776 40100 Bologna Italy (051) 744246 Hot Metal Composing Matrices and Phototypesetting Systems

Optronics International, Inc. 7 Stuart Road Chelmsford, Mass. 01824 (617) 256-4511 Phototypesetting Systems

PhotoVision Of California, Inc. P.O. Box 552 Culver City. Calif. 90230 (213) 870-4828 Toll Free: 800-421-4106 Spectra Setter 1200, Visual Display Setter, and 2" Film Fonts

Pressure Graphics, Inc. 1725 Armitage Court Addison, Illinois 60101 (312) 620-6900 Dry Transfer Letters

Preatype, Inc. 194 Veterans Blvd. Carlstadt, N.J. 07072 (201) 933-6011 Dry Ttansfer Letters

Ryobi Limited 762 Mesaki-Cho Fuchu-Shi Hiroshima-Ken 726 Japan Text/Display Phototypesetters

D. Stempel AG Hedderichstrasse 106-114 Frankfurt am Main-70 Germany (0611) 6068-1 Type Division

'111ctype, Inc. 12 West 26th Street New York, N.Y. 10001 (212) 924-1800 Dry Transfer Letters

ltchnographics/Film Fonts P.O. Box 552 Culver City, Calif 90230 (213) 870-4828 Toll Free: 800-421-4106 Film Fonts, Studio Film Kits, and Alphabet Designers

Visi-Graphics 8119 Central Avenue Washington, D.C. 20027 (301) 366-1144 Dry liansfer Letters

Visual Graphics Corporation 5701 N.W. 94th Avenue Tamarac, Florida 33321 (305) 722-3000 Manufacturer of Photo Typositor and Original lypositor Film Fonts

Xerox Corporation Digital Graphics Center 701 South Aviation Blvd. El Segundo, Calif. 90278 Mail Stop-A3-39 (213) 536-5926 Electronic Printing Systems

Zipatone, Inc. 150 Fend Lane Hillside, Illinois 60162 (312) 449-5500 Dry Transfer Letters

AM International, Inc. Varityper Division 11 Mt. Pleasant Avenue East Hanover, N.J. 07936 (201) 887-8000 Phototypesetters and Photo-lettering Systems

Alphatype Corporation 7711 N. Merrimac Avenue Niles, Illinois 60648 (312) 965-8800 AlphaSette and AlphaComp Phototypesetting Systems CRS Digital Phototypesetter

Artype, Inc. 3530 Work Drive P.O. Box 7151 - Fort Myers, Fla. 33901 (813) 332-1174 800-237-4474 Dry itansfer Letters Cut Out Letters

Autologic, Inc. 1050 Rancho Conejo Blvd. Newbury Park, Calif. 91320 (213) 889-7400 APS-4/APS-5 CRT Phototype-setter Composition and Typesetting Systems

Autologic SA 1032 Bussigny Pees Lausanne Switzerland 021/89.29.71 Bobst Graphic Products and Phototypesetting Systems

For further information, write or call:

INTERNATIONAL TYPEFACE CORPORATION 2 HAMMARSKJOLD PLAZA NEW YORK, NEW YORK 10017

(212) 371-0699 TELEX: 125788

lM36

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Announcing tift_New & Innovative

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New Catalog Features Clip Art Books The complete selection of FORMOST self-adhesive clip art books is featured in the all new Graphic Products Corporation Catalog No. 7. Also illustrated are many new sheets of FORMATT acetate art aids, new rolls of FORMALINE graphic art tapes, and BORDER BOARDS—an exclusive series of 32 pre-printed borders.

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Send for free copy of the Graphic Products Catalog illustrating the FORMOST library of clip art books.

COMPANY

STREET

CITY STATE ZIP

ATTENTION

Mail to: GRAPHIC PRODUCTS CORPORATION 3601 Edison Place, Rolling Meadows, IL 60008

75

FORITE TO: PR ARTH OUSE SPECIALS

BROOKLYN, NE

0.80X 1413,

W YORK 11202. P.O. BOX 329,

M.I.T. BRANCH POST OFFICE, CAMBRIDGE, MASS. 02139.

PROFAPEN 7PEN 30.00 NEN

CAS111L MARS ri7PENSET$32.50

411%1IFF 311%FF

rreAMIeBECTIVAXERs2s.s7 Please include a postage-handling fee of $2.50 per item and N.Y. Tax ( if any). Include your full names and addresses for UPS shipping. For fast delivery use MasterCard, Visa, or money order.

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Lincoln's Gettysburg Address

Typeset in Arabic by * King Typographic Service We can set type for over 600 languages, not only for simple headlines but also the most difficult text.

For more information call (212) 754-9595 King Typographic Service The Foreign Language Division of TGC

305 E. 46th St., New York, N.Y.10017

76 The ITC Center was established to introduce new and exciting typo/graphic arts experiences. It is now a growing resource for students and professionals.

The following slide shows, based on ITC Center exhibitions, are cur- rently available for rental from ITC. Rentals are for a two week period.

International Calligraphy ibday 379 slides representing the work of more than 100 calligraphers from five continents. $50.00 rental plus $50.00 deposit.

Lubalin in Paris 350 slides of work from Herb Lubalin's design studio. $50.00 rental plus $50.00 deposit.

Type and lbchnology 70 slides of the exhibition designed by Mergenthaler Linotype Company and the Cooper Union for the Advancement of Art and Architecture. $25.00 rental plus $25.00 deposit.

Vision '80s 45-minute slide lecture prepared by Edward M. Gottschall, Editor of U&Dlc and author of the "Vision '80s" report. For slides and script $40.00 rental plus $40.00 deposit.

For rentals outside the United States, please add $25.00 U.S. to the rental and $25.00 U.S. to the deposit fees.

For further information and/or a copy of the rental agreement, contact Laurie Burns, Assistant Director, ITC Center, 2 Hammarskjold Plaza, NewYork, NY 10017, 212-371-0699.

SOLUTION TO PUZZLE ON PAGES 18 & 19.

S IXIONARCISSUSEMREHSS U UOHTOLCJEEOUJUSETEUS E MLVESTARFLHIEUREDHRP H NRAGIBENLLACMZRATAEH THORDMCPOOICDYPHNCRBI E BOINEKPTRHAASSIHSIRN MNOPETASIACWISCPE Z J E X O EADSRIDRNACUATPSOHCE RMSETATHTRHPYEHORIONN P EUMOBSLDOIHKOELRSRAO MSDERPEYRDAINLRYNAPIS TIETANHEEDNEBUATLAS TA ASMECADONISUTSEAHPEHJ N HERACLESOPAARDNASSAC T.OADEL Z J M N H E T G S U H C C A B ANDIMUAEIYONNYWUSELHN L ROISVDSGSSORERGELBEY U MEAEEIE AUSOTULPIHERM S UDSASINNSAETIDORHPAP MIZSBAOEARODNAPOPEARH M S U S A G E P O L Y P H E M U S E N I O

77

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NOTE: U&Ic is published quarterly. Please allow four months before anticipating first copy.

SURNAME GIVEN NAME

TITLE

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CITY

STATE ZIP CODE

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DATE

BUSINESS CLASSIFICATION (Check one only) (a) Printer (Commercial, forms, etc.)

(b) Typesetting, Composing

(c) Advertising Agency, Art Studio, Design

(d) Newspaper, Magazine

(e) Book Publisher

(f) Packaging

(g) Internal Printing (not for resale)

(h) Education .

(I) Libraries

(j) Government

(k) Corporation advertising, design, promotion

(I) Student

(m) Other

MY PRIMARY JOB FUNCTION IS: (Check one only) (n) Artist, Illustrator

(o) Art Director, Creative Director

(10) Pasteup Artist

(q) Type Director

(r) Graphic Designer

(s) Advertising Manager, Sales Promotion Manager

(t) Production Manager

(u) Printing Buyer, Purchasing Agent

(v) Principal, Officer

(w) Other

NUMBER OF PERSONS EMPLOYED IN YOUR ORGANIZATION (1) 1-9

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N.B.: U&Ic est une publication trimestrielle. Considerez 4 mois avant de recevoir le premier numero.

NOM PRENOM

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PAYS

SIGNATURE

DATE

CLASSIFICATION PAR PROFESSIONS (Ne cocher qu'une seule fonction) (a) Imprimerie (commerciale, formulaires, etc.)

(b) Composition ti facon

(c) Agence de publicite, bureau de creation, studio

(d) Journal quotidien, periodique

(e) Edition de livres

(f) Emballage

(g) Imprimerie integree (non commerciale)

(h) Enseignement

(i) Bibliotheque

0) Fonction publique

(k) Departement de publicite dune entreprise

(I) Etudiant

(m) Divers

MON ACTIVITE PRINCIPALS EST : (Ne cocher qu'une seule fonction) (n) Dessinateur, illustrateur

(o) Directeur artistique, directeur de la creation

(p) Metteur au net

(a) Type Director

(r) Graphiste

(s) Chef de publicite, directeur de la promotion

(t) Chef de Id production

(u) Acheteur, vendeur d'espace

(v) Chef de service, employe

(w) Divers

NOMBRE DE PERSONNES EMPLOYEES DANS VOTRE FIRME -

(1) ' 1-9

(2) 10-19

(3) 20-49

(4) 50-99

(5) 100-249

(6) 250 et plus

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Europa $20.00 Ferner Osten . . . $24.00 SOdamerika . . . 20.00 Kanada 8.00 Afrika 24.00 Mexiko 70.00

❑ Ich machte U&Ic beziehen.

ANMERKUNG: U&Ic wird vierteljahrlich verbffent-licht Bitte erlauben Sie 4 Monate, ehe Sie die erste Nummer erhalten.

ZUNAME VORNAME

BERUF

FIRMA

STRASSE

POSTLEITZAHL UND ORT

LAND

UNTERSCHRIFT

DATUM

FIRMENKLASSIFIZIERUNG (Bitte eine ankreuzen) (a) Druckerei (Akzidenzen, Formulare, usw.)

(b) Schriftsetzerei (c) Werbeagentur, Grafikdesignatelier

(d) Zeitungs- oder Zeitschriftenverlag

(e) Buchverlag

(f) Verpackungsdesignatelier oder Verpackungsdruckerei

(g) Hausdruckerei

(h) Lehrer (Schule, Fachschule, Universitat usw.)

(I) Bibliothek (j) Behorde

(k) Werbeabtellung von Industrie- oder Handelsfirma

(I) Student

(m) Andere (bitte beschreiben)

MEINE HAUPTBERUFSTATIGKEIT 1ST: (Bitte eine ankreuzen) (n) Kiinstler, Illustrator

(o) Art-Direktor, Kreativ-Direktor (p) Reinzeichner

(a) Typograf

(r) Grafikdesigner (s) Werbeleiter, Verkaufsf6rderungsleiter

(t) Produktionsleiter

(u) Drucksacheneinkouter (v) Firmeninhaber, Direktor

(w) Andere (bitte beschreiben)

ZAHL DER BESCHAFTIGTEN MEINER FIRMA ODER BEHoRDE: (1) 1-9

(2) 10-19

(3) 20-49

(4) 50-99

(5) 100-249 (6) Ober 250

Name Nom

Company Firme Firma

Title Fonction Beruf

Street Address Rue et n° Strasse

City Ville Postleitzahl und Orf

Country Pays Land Code Postal Zip Code

Quantity Quantite Anza h I

Unit Price Total

Prix unitaire Total Einzelpreis Gesamtpreis

ITC BOOKLETS:

78

Now You can order these ITC Type Specimen Booklets

To obtain these handsomely designed, colorful ITC type specimen book-lets, just complete this order form and mail it to us. All orders must be accompanied by a remittance. Please make checks payable, in U.S. funds, to ITC at: 2 Hammarskjold Plaza, NewYork, NY.10017, USA

En vente Ces brochures-specimens ITC sont livrables de stock

Pour obtenir ces jolies brochures-specimens ITC, it suffit de remplir ce bon de commande et de nous le retourner.Toute commande doit etre accom-pagnee d'un avis de paiement acquitte. Priere de payer en $ americains au nom de ITC: 2 Hammarskjold Plaza,NewYork,NY.10017,USA

Nunmehr kennen Sie diese ITC-Schriftmusterhefte bestellen

_ITC American Typewriter' $1.00 ITC Avant Garde Gothic' with Oblique 1.00 _ITC Avant Garde Gothic' Condensed 1.00

ITC Barcelona' 1.00 _ITC Bauhaus' 1.00 _ITC Benguiat® 1.00 _ITC Benguiat® Condensed 1.00

Benguiat Gothic" 1.00 ITC Bookman' 1.00

_ITC Century' with Condensed 1.00 ITC Cheltenham' with Condensed 1.00 ITC Clearface® 1.00 ITC Cushing' 1.00 ITC Eras" 100

ITC Fenice 1.00 _ITC Franklin Gothic" 1.00 Friz Quadrata 1.00 _ITC Gaillard" 1.00 _ITC Garamone with Condensed 1.00 _ITC Isbell' 1.00

Italia 1.00 ITC Kabel" 1.00

ITC Korinna''" with Kursiv 1.00 ITC Lubalin Graph' with Oblique 1.00 _ITC Newtext" 1.00

Novaresde 1.00 _ITC Quorum® 1.00 _ITC Serif Gothic ® 1.00 _ITC Souvenir® 1.00

ITC Tiffany with Italic 1.00 _ITC Zapf Book" 1.00 ITC Zapf Chancery" 1.00 _ITC Zapf Dingbats ® 1.00 _ITC Zapf International ® 1.00

U&Ic BACK COPIES: Foreign U.S. Price U&Ic, Vol. 1, No. 2 $2.50 $1.50 U&Ic, Vol. 1, No. 3 2.50 1.50 U&Ic, Vol. 2, No. 1 2.50 1.50 U&Ic, Vol. 2, No. 2 2.50 1.50 U&Ic, Vol. 2, No. 3 2.50 1.50

Vol. 3, No. 2 _U&Ic, 2.50 1.50 Vol. 3, No. 4 _U&Ic, 2.50 1.50

U&Ic, Vol. 4, No.1 2.50 1.50 Vol. 4, No. 2 _U&Ic, 2.50 1.50

U&Ic, Vol. 4, No. 3 4.00 1.50 U&Ic, Vol. 4, No. 4 4.00 1.50 U&Ic, Vol. 5, No. 1 2.50 1.50

Vol. 5, No.2 __U&Ic, 2.50 1.50 U&Ic, Vol. 5, No. 3 2.50 1.50 U&Ic, Vol. 5, No. 4 2.50 1.50

Vol. 6, No. 1 _U&Ic, 2.50 1.50 U&Ic, Vol. 6, No. 2 2.50 1.50 U&Ic, Vol. 6, No. 3 2.50 1.50

Vol. 6, No. 4 _____U&Ic, 2.50 1.50 U&Ic, Vol. 7, No. 1 2.50 1.50 U&Ic, Vol. 7, No. 2 5.00 2.50 U&Ic, Vol. 7, No. 3 2.50 1.50

Vol. 7, No. 4 ____U&Ic, 2.50 1.50 Vol. 8, No. 1 _U&Ic, 2.50 1.50

U&Ic, Vol. 8, No. 3 2.50 1.50 Vol. 8, No. 4 _U&Ic, 2.50 1.50

fr__U&Ic, Vol. 9, No. 1 2.50 1.50

Total Order, in U.S. funds $ Add postage for booklets $

N.Y. Residents add state sales tax $ Remittance in U.S. funds enclosed $

Montant de la commande $ Affranchissement des brochures, en $ americains $ .50

Paiement ci-joint (en $ americains), total $

Gesamtprels (in U.S.-Wahrung) $ Zuzuglich Porto $

Belgeffigte Zahlanweisung (in U.S.-Wahrung) $

Wenn Sie diese attraktiv entworfenen, farbvollen ITC-Schriftmusterhefte erhalten mochten,ftillen Sie bitte den Bestellschein aus.Alle Bestellungen miissen vorbezahlt werden. Senden Sie Ihre Zahlanweisung (in U.S. -

Wahrung und zahlbar an ITC) zusammen mit dem Bestellschein an: 2 Hammarskjold Plaza, NewYork, N.Y. 10017, USA

ITC CUSHING 0

.50

Notice to typographers: for purchases of 50 or more ITC specimen booklets,contact Mr. John Prentki for special typographer's price.

THE ITC1YPEFACE COLLECTION IS

TO MAKE SPECIFYING TYPEFACES

-41

The ITC Collection includes all ITC tvpefitce families issued through 1980

ITC American Typewriter ITC Avant Garde Gothic ITC Bauhaus ITC Benguiat ITC Benguiat Gothic ITC Bookman

ITC Century ITC Cheltenham ITC Clearface ITC Eras ITC Fenice ITC Franklin Gothic Friz Quadrata ITC Garamond Italia ITC Kabel ITC Korinna ITC Lubalin Graph ITC Newtext ITC Novarese

ITC Quorum ITC Serif Gothic ITC Souvenir ITC Tiffany ITC Zapf Book ITC Zapf Chancery ITC Zapf International

PLUS...The ITC DisplayTtpelEace Collection AND...The ITC ZapfDingbat Series

79

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Benguiat Book

57

Please print/Bitte im Druckschrift/Ecrivez en earacteres d'imprimerie

1. Text blocks plus alphabet showings for sizes 6,7,8,9,10,11, 12,14,16,18,20 and 24 points.

2. Alphabet lengths in points for each text point size shown. These relate to an easy-to-use copyfitting chart at the back of the book

3. Alphabet display showings in sizes 30,36,48,60 and 72 points plus 1" caps.

4. Complete character showing of each ITC display font.

International Typeface Corporationt 2 Hammarskjold Plaza New York, New York 10017

Please send me "The ITC Typeface Collection:' Enclosed is my payment of $49.95* Ship my book postpaid.

tLibrary and bookstore orders should be sent to Robert Silver Associates, 95 Madison Avenue, New York, N.Y. 10016

* New York State residents add applicable sales tax. For shipments outside the United States, please remit $51.45. (All orders must be accompanied by a remittance payable in U.S. funds. No C.O.D.s.)

NAME/NAME/NOM '

• 5. Headline presentation in display size range. STREET ADDRESS/STRASSE/RUE ET N°

CITY/POSTLEIZAHL UND ORT/VILLE

Basic facts about "The ITC Typeface Collection": 572 pages. 121/2"x 121/2!' Hardbound. Smyth sewn for easy opening. STATE AND ZIP CODE/LAND/PAYS, CODE POSTAL

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An exhibition of some ofthe painstaking work which has gone into creating and producing U&lc. Original art, letters from readers, com-plex mechanicals and some from roughs to finished boards will be exhibited. A slide show on the develop-ment of an ITC face will also be on view.

MOVING? CHANGE OF ADDRESS:

SEND THIS LABEL (OR A COPY) WITH YOUR CORRECTIONS TO:

U&LC SUBSCRIPTION DEPT., 2 HANIMARSKJOLD PLAZA

NEW YORK, NY 10017

80 CALENDAR OF EVENTS

The ITC Center was established to introduce new and exciting typo/graphic arts experiences. It is now a growing resource for students and professionals.

APRIL 12-MAY 21,1982

Behind The Scenes At U&lc JUNE 2-JULY 30,1982

Typography 3: The 28th Annual Type Directors Club Exhibition This major exhibition,sponsored by The Type Directors Club,pre-sents examples of typographic excellence in a wide range of media. The pieces, typeset and calligraphic, were selected by a panel of six judges and include outstanding work by type directors, typographic suppliers, and independent designers from around the world.The work on exhibition will be published in an annual,7)'pography 3, in the Fall.

Future Exhibitions THE ANNUAL BROADCAST DESIGNERS ASSOCIATION

EXHIBITION OF VIDEO GRAPHICS August 9-October 1,1982

THE CALENDARS OF OLAF LEU

NIPPON TYPOGRAPHY KYOKAI

ITC Center 2 Hammarskjold Plaza (866 Second Avenue —between 46th and

47th Streets), 3rd Floor, NewYork, NY 10017

HOURS: 12 Noon-5 PM. Monday-Friday Admission: FREE

For further information call (212) 371-0699

CONTROLLED CIRCULATION POSTAGE PAID AT FARMINGDALE, N.Y. 11735 AND NEWYORK, N.Y. 10017 USTS PUBL 073431